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Best "Under the Radar" Films Noir


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Fascinating list, MissG. It's always fun to see what noirs others consider worthy. And while his choices are interesting, some of them are so popular (Out of the Past; Nightmare Alley; Pickup on South Street) that I'd replace them with the lesser known Fear in the Night, Black Angel and Thieves' Highway.

 

Di

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Interesting list. It certainly shows the difficulty in developing an operational definition of "under the radar." Is it an exercise in "obscurity"? A list of "under-appreciated" movies? A list of movies the casual movie fan may not have seen (or heard of), but should? With the possible exceptions of Kansas City Confidential and The Narrow Margin, his list struck me as solid blips _on_ the radar. Really...isn't every moviewatcher with a nodding acquaintance with film noir aware of Out of the Past? And if not, then why isn't *Detour* listed? Such fun! But any list that may encourage more people to watch *Gun Crazy* is A-OK in my book.

 

Juggling each of the above issues in a completely unsatisfactory way, here's a shot at a list (each of which is available on DVD, which was a criterion for preventing wandering into total obscurity):

 

10. *Big Combo* (Joseph H. Lewis, 1955): May be too well known to be "under the radar". Watching bad guys Richard Conte, Lee Van Cleef, & Earl Holliman is always a joy. Written by Philip Yordan and shot by John Alton.

 

9. *Killer's Kiss* (Stanley Kubrick, 1955): Made a year before *The Killing* and beautifully shot by Kubrick.

 

8. *The Black Book* (aka Reign of Terror) (Anthony Mann, 1949): Yes, Virginia, film noir can be made as a costume drama set during the French Revolution. Shot by John Alton, written by Philip Yordan & Aeneas MacKenzie.

 

7. *Raw Deal* (Anthony Mann, 1948): Raymond Burr tries to top Richard Widmark's performance in *Kiss of Death* from the previous year in sadism per second. Who shot it? John Alton, of course.

 

6. *He Walked by Night* (Alfred Werker, uncredited Anthony Mann, 1948): The Anthony Mann/John Alton trifecta. Did Carol Reed see this before making The Third Man?

 

5. *Pursued* (Raoul Walsh, 1947): Beat Anthony Mann to making a film noir Western. Wonderful cast, headed by Robert Mitchum. Shot by James Wong Howe.

 

4. *Phantom Lady* (Robert Siodmak, 1944): A great murder mystery adapted from a novel by the master pulp noir writer, Cornell Woolrich.

 

3. *Black Angel* (Roy William Neill, 1946): A great murder mystery adapted from a novel by the master pulp noir writer, Cornell Woolrich (sound familiar?). This one has Dan Duryea, Broderick Crawford _and_ Peter Lorre.

 

2. *Crime Wave* (Andre De Toth, 1954): As if a taut story about redemption with Sterling Hayden isn't enough, Charles Bronson and the marvelous Timothy Carey appear.

 

1. *Blast of Silence* (Allen Baron, 1961): Nihilist cinema. Near perfection shot on a shoestring, with the best-known names being Larry Tucker and the narrator, Lionel Stander. Recently released by Criterion after having been almost unobtainable since it was made. A must-see if you like them beyond gritty.

 

Left *Shock Corridor* and *The Naked Kiss* off. My excuse: Aren't they on the radar yet?

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I agree that the list seems geared to a more "casual" film goer. Most people familiar with

noir are _very_ familiar with many of those titles, especially Out of the Past.

 

Of your list, ChiO, I've yet to see *Thieves Highway, Killer's Kiss* and *Black Angel*.

 

*Stranger on the Third* floor might be a good choice, it's considered one of the first of

the type yet I don't think all that many have seen it.

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I totally agree with you, MissGoddess; the only people for whom Mr. Farr's films are "under the radar" might be those misguided film buffs who think that someone like the vastly overrated Quentin Tarantino "invented" unique crime films. (Tarantino's reputation as a "talented" director gets my blood pressure up to about 190, but I digress.) Anyway, you've put together a good list, ChiO, although I'm not familiar with The Black Book. My one candidate for under the radar might be Fallen Angel, although once again most noir fans probably have already discovered it. For some reason I had never seen it until earlier this year, and it's terrific; great performances from Dana Andrews, Linda Darnell, (who should have made about ten film noirs, she was so good), and surprisingly Alice Faye, and terrific direction from Otto Preminger. A true gem.

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Obviously Mr. Farr needs to dig a little deeper. Noir is quite a popular subject these days with more resources available than ever before. In that light, he really has no excuse for not doing his homework.

 

I'll try and keep this within the "classic" era:

 

ACT OF VIOLENCE (1948)

PITFALL (1948)

THE GIRL IN BLACK STOCKINGS (1957)*

THREE STRANGERS (1946)

THE BIG KNIFE (1955)*

IL BIDONE (1955)

CORNERED (1945)

LE CORBEAU (1943)

BIG HOUSE USA (1955)

AFFAIR IN TRINIDAD (1952)

THE LOCKET (1946)

THE SECRET BEYOND THE DOOR (1947)

THE VERDICT (1946)

TRY AND GET ME (1950)

MURDER BY CONTRACT (1958)

CONFLICT (1945)

JOHNNY O' CLOCK (1947)

PUSHOVER (1954)*

DIAL 1119 (1950)

THE NIGHT HAS A THOUSAND EYES (1948)

NIGHTFALL (1957)

THE FACE BEHIND THE MASK (1941)

POSSESSED (1947)

THE GOOD DIE YOUNG (1954)

THE STRANGE AFFAIR OF UNCLE HARRY (1945)

EDGE OF DOOM (1950)

DRIVE A CROOKED ROAD (1954)

SOUL OF A MONSTER (1944)

HOUSE BY THE RIVER (1949)

NAKED ALIBI (1954)

RIFIFI (1955)

CRY TERROR (1958)

 

I could go on and on, but I think my point is made.

 

* Showing Soon on TCM

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So as not to duplicate any titles from ChiO's brilliant and indispensable list, here are another ten "under the radar" noir films that should be required viewing...

In chronological order:

1. *STRANGER ON THE 3rd FLOOR* (1940) If not the first American noir, then certainly just about the first. And of the earliest noir entries (1940, 1941), the most profoundly visual and thematically dense. Directed by Boris Ingster for RKO.

2. *DECOY* (1946) For decades a lost and forgotten film, this poverty row Monogram film is one of the most unapologetically brutal films of the 40s. Jean Gillie as the unrepentant Margot is almost too unbearable. Directed with assured dignity by Jack Bernhard.

3. *THE LOCKET* (1946) John Brahm's top-of-the-line (and over the top) noir romance with Larraine Day as one of the cinema's cruelest (and saddest) women and Robert Mitchum and Brian Aherne as two of her victims. RKO.

4. *RAILROADED* (1948) This early Anthony Mann thriller was done for PRC, the grungiest of all the poverty row studios. It looks (and plays) better than most big studio noirs. John Ireland is fantastic as a vicious, sadistic killer. The perennially hapless Hugh Beaumont ("Ward Cleaver") plays the clueless but well-intentioned cop.

5. *TRY AND GET ME* (1950) Perhaps one of the most chillingly cynical films ever made, a mindblowing dissection of the American Dream. The vastly under-appreciated Frank Lovejoy stars with Lloyd Bridges. Directed by the blacklisted Cyril Endfield.

6. *THE PROWLER* (1951) Another stunning attack on the futility of achievement, this uncompromisingly bleak portrait of America at mid-century might still be too powerful and disturbing for most casual viewers. Van Heflin in one of his greatest roles. Evelyn Keyes also shines in this one. Directed by Joseph Losey.

7. *99 RIVER STREET* (1953) One of director Phil Karlson's best noir thrillers: John Payne as an ex-boxer who's framed for the murder of his faithless wife. Evelyn Keyes turns up as an actress who helps Payne sort it all out. Brad Dexter is great as the heavy.

8. *THE BURGLAR* (1956) From the turgid novel by pulp heavyweight David Goodis, this self-consciously arty noir defies belief. Dan Duryea and Jayne Mansfield star. Directed by Paul Wendkos. From Columbia Pictures, so it might someday turn up on TCM.

9. *NIGHTFALL* (1957) Goodis again. Aldo Ray, Brian Keith and Anne Bancroft in an exciting and visually rich thriller. Directed by the incredible Jacques Tourneur. Columbia.

10. *MURDER BY CONTRACT* (1958) Irving Lerner's offbeat, minimalist tale of a hitman (Vince Edwards) who gets cold feet when his latest target turns out to be a beautiful woman. Another great Columbia noir which has never been released on any home video format.

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I would agree that Farr's list contains several films that, while excellent examples of the genre, really have not "fallen through the cracks."

 

In addition to the several fine lists here, I'd add the following:

 

BORN TO KILL, 1947, with Lawrence Tierney as a heel to end all heels;

 

THE BRIBE, 1949, with Robert Taylor as an American Federal Agent in South America who nearly chucks it all for sultry Ava Gardner;

 

CHRISTMAS HOLIDAY, 1944, starring noirdom's unlikeliest duo, Gene Kelly and Deanna Durbin;

 

CRISS CROSS, 1949, with Burt Lancaster and Yvonne DeCarlo as star-crossed lovers involved in an armored car holdup and its aftermath;

 

DARK PASSAGE, 1947, often considered Bogart and Bacall's weakest film together, but I've always liked its bleak, pessimistic telling of a man convicted of killing his wife who escapes from prison and is aided and sheltered by a woman who believes in his innocence because his case was like her father's;

 

HIGH WALL, 1947, with Robert Taylor as an escapee from a mental hospital suspected of murdering his wife;

 

JOHNNY ANGEL, 1945, with George Raft as a seaman investigating the disappearance of his captain-father aboard a freighter;

 

NAKED ALIBI. 1954, with Sterling Hayden as a tough cop obsessively pursuing Gene Barry for a series of bombings for which he has already been cleared;

 

NOCTURNE, 1946, with George Raft as a tough cop investigating the apparent suicide of a womanizing composer, even after being fired off of the police force;

 

PITFALL, 1948, starring Dick Powell as an insurance adjuster with a wife, home, and son who nevertheless indulges in an extramarital fling with Lizabeth Scott and may, as a result, lose everything;

 

RED LIGHT, 1949, with George Raft as an ex-con seeking the killer of his brother. a priest. Notable for Gene Lockhart's brutal death at the hands of Raymond Burr under a car lift;

 

TENSION, 1949, with Richard Basehart as a mousy fellow who plots the murder of his shrewish wife, only to have someone beat him to it.

 

Message was edited by: nightwalker, to correct a couple release dates

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Hi nightwalker! I see some titles that I am fond of myself and a few that really

interest me, including some with George Raft---Nocturne, especially, sounds

intriguing. I will see what Netflix can do.

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_Ark_ & Dewey: You noir teases, you! At least I had the common decency to include only movies that are commercially available to rent or buy. Luckily, I have connections that sometimes slip something through my mail slot when I'm in the throes of major noir DTs. Never see their faces as they disappear into the night fog, trench coat and fedora covering their mugs. But marvelous selections, as always.

 

A couple more on DVD:

 

*Dark Waters* (Andre De Toth, 1944): This underappreciated director's entry in the Southern Gothic noir category. Stars Franchot Tone and Merle Oberon, but it is Thomas Mitchell's and Elisha Cook, Jr.'s movie all the way.

 

*The Savage Eye* (Ben Maddow/Sidney Meyers/Joseph Strick, 1960): May be stretching the boundaries of film noir with this one, but it is one of the most powerful female-centered films I have ever seen, perhaps surpassed only by *Wanda* (Barbara Loden, 1970). The darkside of urban life seen through the eyes of a newly divorced woman. If you liked *Something Wild* (Jack Garfein, 1961) when TCM showed it a while back, then try this.

 

And speaking of Jack Garfein, here are some (of the many) film noirs not on DVD (or VHS), _and_ not mentioned by anyone, that I'd love to see:

 

*The Strange One* (Jack Garfein, 1957)

*My Name Is Julia Ross* (Joseph H. Lewis, 1945)

*So Dark the Night* (Joseph H. Lewis, 1946)

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Cheerio ChiO! *Dark Waters* is on dvd?? I am rushing to Netflix...if it's as good as I remember

it, I may even buy it.

 

Can you tell me who the star is in The Strange Eye? I liked what I saw of *Something Wild*

(when will TCM re-air it?) but I like Carroll Baker so a lot depends on who plays the lead.

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Barbara Baxley has the lead. She did a bunch of TV, but *The Savage Eye* was her first film credit. She earlier had an uncredited role in East of Eden, which puts her in great company with...Timothy Carey (and there was some other young guy who got a credit). She had later roles in No Way to Treat a Lady, Nashville, Norma Rae and Sea of Love.

 

Gary Merrill and Herschel Bernardi are the male leads.

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I have been devouring the fascinating suggestions made by all on this thread. Excellent, excellent stuff.

 

I thought the inspiration for this thread to be comical. No, I'm not talking about Miss G. On second thought... :)

 

Since when did Out of the Past become an "under the radar" film noir? Out of the Past is actually the film that comes to mind first for me when anyone mentions film noir.

 

I really cannot add all that much to what has been chosen since I have not seen nearly as many films noir as others on this thread. In fact, I have learned more about film noir thanks to those on this thread. And that actually includes Miss Gun For Hire. On second thought... :P

 

In compiling my two lists, I chose not to include any films included in Eddie Muller's favorites or any films listed on They Shoot Pictures' "The 1000 Greatest Films."

 

This is Muller's list of favorite films noir:

 

1. In a Lonely Place (#253 in TSPDT's 1000)

2. Criss Cross

3. Sunset Boulevard (#31 in TSPDT's 1000)

4. The Asphalt Jungle (#315 in TSPDT's 1000)

5. Double Indemnity (#91 in TSPDT's 1000)

6. The Maltese Falcon (#173 in TSPDT's 1000)

7. Nightmare Alley

8. Night and the City

9. Out of the Past (#125 in TSPDT's 1000)

10. Moonrise (#935 in TSPDT's 1000)

11. The Killers

12. Sweet Smell of Success (#155 in TSPDT's 1000)

13. Thieves' Highway

14. They Live by Night (#490 in TSPDT's 1000)

15. The Killing (#528 in TSPDT's 1000)

16. Odds Against Tomorrow

17. Act of Violence

18. Gun Crazy (#516 in TSPDT's 1000)

19. The Prowler

20. Tomorrow is Another Day

21. Detour

22. Scarlet Street

23. Touch of Evil (#22 in TSPDT's 1000)

24. City That Never Sleeps

25. Raw Deal

 

Of course, some of Muller's favorites are truly "under the radar," like The Prowler, a film that is second only to Fritz Lang's Secret Beyond the Door as the film noir I wish to see most. I now request The Prowler, Moonrise, Tomorrow is Another Day, and City That Never Sleeps at "Suggest a Movie" thanks to Muller's list.

 

My first list contains very known films noir that I don't believe get enough due:

 

1. This Gun for Hire -- Of all the more "known" films noir, I believe this one doesn't receive nearly enough praise. I'm still amazed to see a hitman anti-hero in a 1942 film. It is very modern in this way. We actually see our "hero" kill two people in cold blood and flinch at killing a little girl because she was a potential witness. Unreal. And, to top it all off, the psychological aspects of the film run deep.

 

2. The Set-Up -- Robert Wise is rarely lauded as a film noir director, but he turned in a few unheralded gems, like this one. You're not going to find a tighter film noir. I love the theme of devotion. Devotion to a dream, devotion to principles, devotion to love.

 

3. Fallen Angel -- Laura is Otto Preminger's best known film noir, but Fallen Angel is my favorite of his. Instead of the customary male longings depicted in film noir, we witness female longings.

 

4. Clash by Night -- If you were to ask noirists to rattle off Lang's best, this title doesn't always come up fast enough for my liking. Some may say it's not film noir, but I believe it's a collision between film noir and melodrama. Paul Douglas represents melodrama while Robert Ryan represents film noir. Barbara Stanwyck is a film noir dame who doesn't know if she's ready for melodrama.

 

5. On Dangerous Ground -- Nick Ray's other films noir -- In a Lonely Place and They Live by Night -- often overshadow this film, and I'm one who believes the shadow tends to be too large. I love the tenderness found in this film noir. Yes, you heard me right. Tenderness in noir. Nick Ray's films noir often feature heart.

 

6. Angel Face -- When asked to name the greatest femmes fatale in film noir history, many often overlook Jean Simmons' "Diane Tremayne." Jean Simmons in film noir? Yes, and she's brilliant. Her entrance in Angel Face is hauntingly beautiful. Mitchum as an ambulance driver? Ahhhh, film noir.

 

7. Born to Kill -- Robert Wise... again. What I truly appreciate about Born to Kill is that our protagonist is a female, Claire Trevor, who is drawn to the dark side of man. Lawrence Tierney plays the homme fatale with menacing verve.

 

8. I Wake Up Screaming -- Impressive film noir from its dawn. Laird Cregar's predatory creepiness makes him one of noir's greatest characters. And he's a cop; Touch of Evil.

 

I know all of those titles are very familiar to those who have posted already, but I don't believe they are cited as much as others.

 

My true "under the radar" list goes as follows:

 

9. Inner Sanctum -- This is a favorite of Joe's (Mongo), and I happen to agree with him in saying it's a very underrated film noir. It reminds me of Hitch's Shadow of a Doubt. Charles Russell and Mary Beth Hughes nail their parts.

 

8. The Red House -- While the acting in the film is on the weak side, with the exception of Edward G. Robinson and Judith Anderson, the atmosphere is quite unsettling. What is unearthed is rather unique. It's a shame the film has not been rescued from public domain.

 

7. Edge of Doom -- Dana Andrews and Farley Granger made more acclaimed films noir, but I find this one to be very compelling. The film is claustrophobically dark, in the tradition of Val Lewton. Former Snake Pitter Mark Robson even throws in a Lewton bus for good measure. Adele Jergens is terrific in a smaller role.

 

6. The Great Flamarion -- Yet another Mary Beth Hughes entry, and this time, she really shines. Hughes plays one of the better femmes fatale I have encountered to date. Erich von Stroheim is the strong man with the steady hands until... And to top it all off, you get Dan Duryea as the drunk boyfriend of Hughes. An early, underrated Anthony Mann film noir.

 

5. The Woman on the Beach -- An in-love Robert Ryan crosses paths with a mysterious woman on the beach, the highly alluring Joan Bennett. All that once was right in Ryan's world is now suddenly all wrong. While not the tightest of films, I find the foggy ambience to be mesmerizing, not to mention the performances of Bennett, Ryan, and Charles Bickford. I hope this film finds its way to DVD soon.

 

4. Fourteen Hours -- What's wrong with Bobby? Not your typical film noir, which makes it all the more "under the radar" for me. You'll have to read between the lines with this one. This is my favorite Richard Basehart performance to date. The film, oddly enough, boasts the big screen debut of Grace Kelly.

 

3. Mystery Street -- A film ahead of its time. The first act is rather startling when you consider it was 1950 when this film was made. The ensuing investigation delves into the world of forensic science. Elsa Lanchester's performance is brilliant.

 

2. Decoy -- Master Dewey's recommendation of this film last summer was spot on with me. I love it. The opening to the film is highly creative and then we get to sit back and watch Jean Gillie put on a femme fatale show. There are many strong moments in this film.

 

1. Dementia -- Arkadin knows my great affinity for this unheralded film. I find it to be very David Lynchian. Here are the "plot keywords" at IMDb:

 

Chauffeur

USA

Nightclub

Limousine

Fall From Height

Independent Production

B Movie

Investigator

Husband

Narration

Father

Murder

Detective

Apartment

Butler

1950s

Wife

Musician

Knife

Necklace

Jazz Band

Newsboy

Drugs

Murderer

Mother

Narrator

Jazz

Music

Self Defense

Dementia

Wino

Beatnik

Dream

Stabbed To Death

Killer

Dwarf

Drunk

Stoned

Delusion

Dinner

Hotel

Fantasy World

Low Budget Film

Daughter

Rape Attempt

Killing

Hotel Room

Insanity

Flashback Sequence

Switchblade

No Dialogue

Independent Film

 

Quotes from the DVD cover:

 

"May be the strangest film ever offered for theatrical release." - Variety

 

"Overflows with horror, hopelessness, sadism, violent acts of terror, and outbursts of panic." - New York Censor Board

 

"A work of art. It stirred by blood and purged my libido." - Preston Sturges Yes, THAT Preston Sturges.

 

I'm not sure if Arkadin has watched this film yet and I don't know if Dewey and ChiO have seen it. I'm assuming Dewey has. ChiO, if you have not seen it, you need to. Miss G... stay away.

 

If possible, TCM really needs to program Dementia for "Underground."

 

dementia2.jpg

 

dementia3.jpg

 

dementia1.jpg

 

dementia4.jpg

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Very nicely written Mr Bloody Purged Libido. Did you also graduate class Valedictorian? :P

 

I even like your descriptions better than Mr Mueller's, because you make lots of those movies

sound better than I remember them. Ha!

 

There are lots I still have to see (NOT Dementia) like *Red House, Decoy, Inner Sanctum*, and

*The Great Flammarion*. Oh, so many.

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*I'm not sure if Arkadin has watched this film yet and I don't know if Dewey and ChiO have seen it. I'm assuming Dewey has.*

 

Yes, I've seen it but only in a ratty 16mm print after it had been retitled *DAUGHTER OF HORROR*. It's a deliriously weird and unsettling film, even when viewed under the worst imaginable conditions (in a damp basement with a crappy image projected on a porous brick wall). It's so deranged and horrific in fact that I generally tend to think of it more as a horror film than a conventional noir thriller. One of these days I'll have to take a look at the restored Kino DVD version.

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What's the score, Dewey? -- Yes, I've seen it but only in a ratty 16mm print after it had been retitled DAUGHTER OF HORROR.

 

So you saw the one with Ed McMahon's narration. You need to check out the orginal, which features no dialogue.

 

It's a deliriously weird and unsettling film, even when viewed under the worst imaginable conditions (in a damp basement with a crappy image projected on a porous brick wall).

 

Now that made me laugh. I cannot imagine watching Daughter of Horror in that setting. Phenomenal.

 

It's so deranged and horrific in fact that I generally tend to think of it more as a horror film than a conventional noir thriller.

 

I actually never classified Dementia as a film noir until this list. If you watch it again, I think you will come away believing it's more noir than horror. The graveyard scene gives it a horror feel, but the majority of the film is noir to me. It's an urban nightmare with deep psychological roots. And it's got a jazz club.

 

The cover of the DVD calls Dementia "the beat-noir nightmare cult-movie classic."

 

From the back of the DVD:

 

An entirely unique and utterly bizarre rediscovery, John J. Parker's Dementia is a 1950s-style foray into the mind of psycho-sexual madness. Set entirely in a nocturnal twilight zone that blends dream imagery with the cinematic stylings of film noir, Dementia follows the tormented existence of a young woman haunted by the horrors of her youth, which transformed her into a stiletto-wielding, man-hating beatnik.

 

Accompanied by George Antheil's sci-fi score, the camera follows a "Gamin" (Adrienne Barrett) on a surreal sleepwalk through B-Movie hell, populated by prostitutes, pimps and would-be molesters -- all photographed by William Thompson (Plan 9 From Outer Space, Maniac, Glen or Glenda?).

 

It reminds me of a German silent.

 

One of these days I'll have to take a look at the restored Kino DVD version.

 

I really hope that you do. I don't believe you will be disappointed. And if ChiO hasn't seen Dementia, he's in for a real treat.

 

Where's the score, Arkadin? -- I recieved the Kino print for Xmas last year, but still haven't had a chance to view it! Everything goes on the pile and eventually gets seen though (although some films do seem to cut in line).

 

It's only 57 minutes long, and I guarantee you will eat it up from the very first shot. It's mesmerizing.

 

Good evening, Miss Gun For Hire -- Very nicely written Mr Bloody Purged Libido.

 

Me and Preston thank you. We think.

 

Did you also graduate class Valedictorian?

 

Are you laughing as much as I am?

 

I even like your descriptions better than Mr Mueller's, because you make lots of those movies

sound better than I remember them. Ha!

 

Really? I'm not sure about that. But then again... ;)

 

http://www.eddiemuller.com/top25noir.html

 

There are lots I still have to see (NOT Dementia) like Red House, Decoy, Inner Sanctum, and

The Great Flammarion. Oh, so many.

 

If you need to see "lots," where does that place me? I'll be at the asylum.

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*And if ChiO hasn't seen Dementia, he's in for a real treat.*

 

I haven't, but I've wanted to since 1986 when I read in Re:Search: Incredibly Strange Films this passage from an essay devoted to *Daughter of Horror* --

 

Its depictions of murder, resurrection and dismemberment -- all common elements in horror films -- are presented as the hallucinations of an insane mind. Despite the noir cinematography and depictions of pimps, payoffs, and venal police, *Daughter of Horror* is not a crime movie. The original title, Dementia , probably reflects the film's essence most accurately. In a conventional horror film the terror comes from the outside, with the central figure a victim in a world gone mad. In Parker's film the horror originates from the inside, as an aberrant mind turns upon itself.

 

The two essays immediately preceding that: *God Told Me To* and Blast of Silence. The one immediately following: Spider Baby. I'm sold -- where do I buy it?

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Well shoot...let me jump into the fray with you noiristas. Farr has named a good list, but under the radar?? Maybe for hayseeds in Wisconsin.All of you have named some noir that are truly under the radar or lost in a black hole in space.

 

But look at some of the women that populated Farr's list of noir. Among them: the glorious Gloria Grahame, Joan Blondell, the beautiful Jean Peters (on in "Pickup..." tonite at 8:00pm EST), Peggy Cummins, the sweet girl the hero hopes to come back to: Colleen Gray, sloe-eyed beauty Marie Windsor and of course (as described somewhere I just read) the white-hot Jane Greer. You know, there's something about Jane Greer...oh boy, let me not start THAT again.

 

Besides your doomed, hapless, Fedoraed heroes and sadistic, stocky villains and purple-black, rain-soaked, neon-lit streets...the world of noir is populated with femme fatales that make you longingly wish to die in their arms or by their hands.

 

LONG LIVE NOIR!!! Hey it's kind of nice down here below the line.

 

P.S. I read the title "PUSHOVER" on this thread. Just to remind you, during Kim Novak's stint in SUMMER UNDER THE STARS "Pushover" will air Tuesday, August 12th, at 8:00PM. Hell you oughta watch her the whole day anyway.

 

Message was edited by CineMaven...my apologies to those Mid-Westerners in the know!

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CineMaven said: *my apologies to those Mid-Westerners in the know!*

 

Apology accepted (or, is that "excepted"?). For the record, those delightful denizens of Wisconsin are not "hayseeds"...they are "Cheeseheads."

 

From Chicago, Caught Between My Homestate Hoosier Hayseeds and Wisconsin Cheeseheads,

ChiO

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Now I should know that. As a Daddy's girl, I used to sit with my dad to watch football and root for the Bart Starr's Green Bay Packers. "Hey Dad, what the heck is that on their heads??" is a question I'd ask waaaay after Starr's years. I know.

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