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No Noir this weekend.


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I'm going to miss Noir Alley too. I get that it's Valentines. Why don't they show a movie about The St. Valentine's Day Massacre?  The 1932 film SCARFACE starring Paul Muni is a classic and I've never seen it. 

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On 11/6/2019 at 8:33 PM, Forty-One said:

Tonight I am going to watch "The Big Sleep" for the xxxxxxxxxxxxth. time. If an extraterrestrial were to ask me what is the quintessential film noir, that would be it, this one along with "Double Indemnity"

The Big Sleep is what got me into studio-era films over 30 years ago.    E.g. I went to a revival theater in Hollywood and saw the film on the big screen.   The second time I went I sat in the front row.    Carmen's legs (Martha Vickers) in that opening scene where like 50 feel tall!    (but I had to wait to drive home since my eyesight was impacted).    I know most of the dialog by heart since I have seen the film over 20 times (at least).    Also there is the pre-release version,  shown only to troops overseas  which is very interesting.   If you haven't seen that one,  check it out.   (Hawks was asked to add Bogie and Bacall scenes after the two were married and that was the version released after the war ended).

As much as I love the film,  I can't say it is the "quintessential film noir"  mainly because of the Bogie and Bacall romantic angle (the pre-release is more "noir"),  and the good-guy wins ending. 

Out of the Pass,  Double Indemnity,   and Criss Cross are more quintessential noir films as it relates to the noir themes of a doomed noir protagonist and a classic femme fatale.     

 

 

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1 hour ago, jamesjazzguitar said:

The Big Sleep is what got me into studio-era films over 30 years ago.    E.g. I went to a revival theater in Hollywood and saw the film on the big screen.   The second time I went I sat in the front row.    Carmen's legs (Martha Vickers) in that opening scene where like 50 feel tall!    (but I had to wait to drive home since my eyesight was impacted).    I know most of the dialog by heart since I have seen the film over 20 times (at least).    Also there is the pre-release version,  shown only to troops overseas  which is very interesting.   If you haven't seen that one,  check it out.   (Hawks was asked to add Bogie and Bacall scenes after the two were married and that was the version released after the war ended).

As much as I love the film,  I can't say it is the "quintessential film noir"  mainly because of the Bogie and Bacall romantic angle (the pre-release is more "noir"),  and the good-guy wins ending. 

Out of the Pass,  Double Indemnity,   and Criss Cross are more quintessential noir films as it relates to the noir themes of a doomed noir protagonist and a classic femme fatale.     

As much as I love Yvonne De Carlo in it, I consider CRISS CROSS a ripoff of THE PUBLIC ENEMY. And of course, scenes in WHITE HEAT from the same year also borrow heavily from THE PUBLIC ENEMY. Most postwar noir owes a huge debt to the precode gangster pictures.

So in many regards I find noir to be derivative. It was often just a way to repackage, reformulate, resell stories the studios had previously told and were now recycling. They tried to make them seem relevant by inserting war veterans into the narratives, but even that had been done before (see HEROES FOR SALE and THEY GAVE HIM A GUN).

I know I am simplifying things but yeah, a lot of postwar noir is like deja vu to me.

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