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> {quote:title=cigarjoe wrote:}{quote}*The Brasher Doubloon* (1947) Director John Brahm, with George Montgomery, Nancy Guild, Conrad Janis, and Roy Roberts. Nothing to go running out to find very talky and studio set bound. Probably the worst film based on Chandler's Marlowe P.I. character. Didn't like Montgomery at all nor the rest of the cast for that matter.

Fox had John Payne, Richard Conte, Mark Stevens and Richard Widmark on the lot at that time and the best that they could come up with was George Montgomery. The film makes you wonder what the very talented John Brahm must have been thinking of while making it as it shows none of the flair of THE LODGER or HANGOVER SQUARE.


Even the earlier adaptation TIME TO KILL with Lloyd Nolan, while no great shakes itself, was a better film.

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Isn't it though, lanceroten? I can watch it and NBNW over and over.


Funny thing, the extremely expensive pay channel, Encore 1 or 2 or 3 or Retro something or other or Starz 2 or 7 or 5, one of them at any rate, programs DI over and over and over and over and over. I imagine someone paying the gazillion dollars they overcharge for movies would be irate, expecting newer stuff, but I stop and stare and watch everytime Mrs. Dietrichson and her anklet comes on the screen. I love Keyes and his 'little man', don't you? Never knew his first name was Barton until the 100th or so viewing.


Meanwhile (have you seen Boss on Starz?), as I told Kelsey's assistant who stopped to pack and got himself shot in the back (horrid scene), if Walter hadn't come back to the office, he would have been all the way to the end of Mexico and safe as a bug in a rug. What a dope.


Of course, there would have been no DI!

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I can watch Double Indemnity over and over. It's just a great film. There's no lag, it's well acted. It's just, sharp. Robinson, MacMurray, Stanwyk. Hard to go wrong there. And yeah, I taped it off one of the Enore channels. My Encore channels package isn't too expensive. It's bundled with IFC(which is junk nowdays) and the Fox Movie Channel(which is still OK about 8 hours of the day), Fearnet, Fox Movie on demand and something called Vutopia/movie pass. For a guy like myself who considers movie watching his number one hobby these days, it's perfect :D

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*Deadline At Dawn* (1951)

Director: Harold Clurman screenplay based on Cornell Woolrich (writting as William Irish) story. With Stars: Susan Hayward, Bill Williams, Joseph Calleia, Osa Massen, Lola Lane and Paul Lukas. Another ensemble cast Noir, a bit dopey but with some nice twists.


Bill Williams a sailor on leave who wakes up in a strange apartment, he leaves the woman he finds there and stumbles out to the street where he finds refuge at a news vendors stand. When he pulls a handkerchief from his pocket a wad of money falls out to the street. He doesn't know how it got there. With his newly found riches he heads to a Ballroom Dance Hall where he meets taxi dancer Hayward. She feels sorry for him because her brother is a belly gunner in the service. They hit it off and he tells her of the money wad and they decide to take it back to the apartment he woke up in.

Hayward as taxi dancer fending off an admirer


Susan Hayward, Joseph Calleila, and Paul Lukas


Upon reaching the apartment they discover the woman murdered. While there (here is the dopey part) they leave fingerprints all over everything while deciding to try and find the killer before Williams is accused of the crime. The deadline referred to in the title is the time his bus leaves for Norfolk

If you don't analyze their decisions or the premise too much you will possibly find it entertaining 7/10
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  • 2 weeks later...
*The Crooked Way* (1949) Director Robert Florey, Director of Photography John Alton with John Payne, Sonny Tufts, Ellen Drew, Rhys Williams, Percy Helton, and John Doucette and many others.


Eddie Rice (Payne), wakes up in a San Francisco Veterans Hospital after WWII with a Silver Star but no memory. The Doc tells him his amnesia is "organic" and that the piece of shrapnel in his head has permanently erased his past. The Doc suggests that he attempt to piece his life together by returning to familiar surroundings, maybe he will run into someone who knew him. He gets discharged and heads to L.A. that is all he knows about himself. At Union Station, two police detectives meet him, calling him Eddie Riccardi. From them he discovers that he worked for mob boss Vince Alexander (Sonny Tufts), whom he framed before he joined the Army.

He also finds out he was married to B-Girl (Nina) Ellen Drew, who also has mob connections working in an illegal gambling. Caught between the cops and the mob, Payne wakes up in a car with a gun in his hand and a dead cop in the seat next to him. He awakes just before the tipped off police arrive and scrambles for his life.

Payne tracking his past life through "Noirville" LA


This Film is a gem. Alton's cinematography is extremely dark and claustrophobic and fits the subject matter well, a feast for Noir eyes with a nice juxtaposition of studio set & seedy location shots that make a fine example of the noir aesthetic. The large and varied cast actually enhances the amnesia angle to the story since minor character actors flicker for a few moments of screen time out of the shadows and then are gone and just like Eddie, you don't know whether they are a part of Eddie's past life or not.

Alton's stylistic cinematography


Mob Boss Sonny Tufts and his men


Payne plays a convincing amnesia victim, Drew is good as his ex wife, but Sonny Tufts as the mob boss is excellent. The Geneon DVD is cheap, adequate but featureless, still a 9/10

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*Edge Of Doom* (1950) Director: Mark Robson, Stars: Dana Andrews, Farley Granger, Paul Stewart, Robert Kieth, and Joan Evans.


"Is that a Tobelerone in your pocket or are you just glad to see me"?

Interesting bit of product placement for Tobelerone I never knew they did that on paperback covers

Can't review this any better than this on IMDb:

One of the bleakest, most pessimistic films of the noir cycle, 26 October 2001

Author: bmacv from Western New York

When Edge of Doom was first released, audiences turned away from it with the coldest of shoulders. It was yanked out of circulation so that a pair of bookends could be shot, in which the story becomes a kind of parable told by a wise old rector (Dana Andrews) to a younger priest undergoing a pastoral crisis. The filmmakers shouldn't have bothered: Edge of Doom remains one of the bleakest, least comforting offerings of the entire noir cycle (no mean feat), and probably the most irreligious movie ever made in America.

When Farley Granger's devout but tubercular mother dies, it precipitates a rampage against everything that makes up the prison of his life: his ugly urban poverty; his penny-pinching employer who offers promises rather than a raise; the Church, which once refused burial to his father, a suicide, and is now refusing his mother the "big" funeral he thinks he owes her; the smarmy, sanctimonious undertaker. Long story short, he ends up murdering a crusty, hell-and-brimstone priest. The police nab him for a robbery he didn't commit but end up with a different murder suspect. But compassionate pastor Dana Andrews (now in flashback) suspects the truth.... There's something almost endearingly Old Left about the savagery of the indictment leveled against society's Big Guns: Church, police and capitalism. The slum where Granger lived with his mother makes Ralph and Alice Kramden's Chauncey Street digs in Brooklyn look cozily inviting (Adele Jergens, as the slatternly wife of a neighbor, observes, "Smart people don't live here"); outside, the nighttown is noir at its most exhilaratingly creepy. It's easy to see why the public, on the cusp of the fabulous fifties, shunned this movie, whose unprettiness is uncompromised. But it's as succinct a summing up of the noir vision as anything in the canon.

I'll add Paul Stewart's "Mr. Craig" is extremely smarmy petty criminal, imparting words of street smart wisdom to Martin Lynn (Granger).


“Nobody lends you money, a kid like you: driving a truck, delivering flowers, making thirty bucks a week. You’re a bad risk. Money, money! That’s all that counts in this rat race. If you got it they’ll bury you like a queen. If you ain’t they’ll pack her in a box and shove her in a hole in the ground. I feel for you Martin, and for what your mother went through in this world. She oughtta go out in style, like a somebody; the world owes it to her. It’s a rich world, but it hates to give — you gotta take! Somewhere out there someone owes you something. All you gotta do is have the nerve to collect.”

The visuals are great, especially the set design of the tenement apartment building where the Lynn's live. Nothing spells sleazy quite like dim bare light bulbs hanging from long drop cords, and this film has them is spades. 8/10

A Bare Light Bulb Gallery

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  • 4 weeks later...

*Sudden Fear* (1952) Director: David Miller, Stars: Joan Crawford, Jack Palance, Mike Connors, and Gloria Grahame.




A very, very dark and claustrophobic noir, with good performances all around, especially by the more creepy than usual Palance, it has to be the lighting that is enhancing his train wreck of a face. Its a veritable juxtaposition of grotesques the ghoulish Palance with the buffoonish Crawford. Crawford no matter how you slice it looks downright clownish chewing the scenery with an ape like hysterics that makes you feel like throwing her a banana. Its hard to root for a leading lady that looks like this:








Palance in one of his better close-ups






I can only imagine what Joan's eye bulging school of acting must have looked like on a full 60' screen.



Some great noir cinematography









From IMDb Storyline, Actor Lester Blaine (Palance) has all but landed the lead in Myra Hudson's (Crawford) new play when Myra vetoes him because, to her, he doesn't look like a "romantic leading man." On a train from New York to San Francisco, Blaine sets out to prove Myra wrong...by romancing her. Is he sincere, or does he have a dark ulterior motive? The answer brings on a game of cat and mouse; but who's the cat and who's the mouse?



Palance & Grahame






Grahame stretching out on a sofa and baiting Palance with you know what












IMDb-by robert-temple-1 (United Kingdom)


This is a real edge-of-your-seat nail-biter. David Miller did a terrific job of directing this one, and the cinematography is spectacular by Charles Lang. Some of the shots are as inspired as anything ever seen in Hollywood, such as one in Joan Crawford's library where upon hearing an inadvertent recording made on her dictaphone, she gradually shrinks back in horror against the far wall, until she becomes nearly a dot in the distance. That shot is a real triumph of cinematic inspiration. Much is accomplished with a clock and its pendulum, with the star-shaped pendulum at one point shown in shadow swinging across her chest as she gets more and more anxious. None of this is overdone, but is all subtle and effective. Joan Crawford has us all spellbound with her magnificent performance. She throws vanity to the winds, and is not afraid to show her character as someone in the round, complete with cowardice, foolishness, and even extreme stupidity, combined with cunning, intelligence, charm and inspiration. Rarely has a woman been shown so soaked in sweat with sheer terror, and she must have stepped straight out of the shower for each of those shots. When we aren't staring at her incredulous, we notice that Jack Palance is highly effective, and then we have the delectable treat of Gloria Grahame turning up. Which true cineaste does not adore Gloria Grahame? She herself probably never knew what all the fuss was about, regarding herself no doubt as an ordinary girl. But Gloria Grahame was far from ordinary. She had that indefinable something plus a lot of other somethings, which for reasons which are deeply mysterious and impossible to explain leave many people like myself in a state of entranced wonder. What was it about her? No matter how many times we watch her we will never know, all we can say is there will never be another one. This film is a real humdinger.



All in all it has great atmospherics, the Kino DVD is bare bones, too bad, I have a feeling that a running commentary would have been hilarious. I'll subtract 2 points for the post plucked eye browed Crawford, final tally 7/10


Edited by: cigarjoe on Mar 8, 2012 5:52 AM

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  • 2 weeks later...

*Beyond The Forest*


Lust in the Sawdust


Director: King Vidor, Writers: Lenore J. Coffee, based on Stuart Engstrand's novel.


Cinematography was by Robert Burks who according to Imdb, later became the favorite cinematographer of Alfred Hitchcock he became an expert in forced perspective techniques which were widely in use at the time as cost-saving measures, or in B-movies. Burks did special effects work on major productions like Arsenic and Old Lace (1944), The Unsuspected (1947) and Key Largo (1948).




It stars, Bette Davis, Joseph Cotten, Ruth Roman, Minor Watson, Dona Drake, Regis Toomey and David Brian. Bette Davis chews the scenery as slutty femme fatale Rosa Moline, the smoldering under the surface, small town doctors wife, who is bored out of her gourd with her lot in life. Everyday one of her rituals is getting dressed to the nines and going down to the station to watch the Chicago train collecting wolf whistles and gossip along the way.


This is one of those films that is so obvious that it transcends bad, so bad its good. Its a hoot


A melancholy tale of a woman on a downward spiral. With some nice Noir cinematography by Burks.




Married to a dedicated but impoverished physician Dr. Moline (Joseph Cotton) in a Podunk (actually Loyalton, California) a small Wisconsin lumber mill town, Rosa carries on an illicit affair with Neil Latimer (David Brian) a wealthy industrialist who lives in Chicago but has a hunting lodge up in the Forest near Rosa's fly spec of a town.


Podunk's Main Street




Podunk's Mill and tee pee burner.





Doc Moline the dedicated small town doc. Joseph Cotton doing what he does best playing the helpless troubled cuckold.




Suave Neil Latimer looking for a quickie and her name is Rosa.





Rosa getting Moose (the hunting lodge caretaker) drunk so she can run to Latimer's hunting lodge for a roll in the hay.




Rosa rocks dreaming of Neil her legs slightly spread, in her modest home which after coming back from Neil's loge she utters the immortal oft quoted by Bette impersonators and drag queens of all ages the "What a Dump" line.





Vidor visually hits you over the head with the various stages of Rosa's eruption starting with flickering reflections through a bedroom window on a wall above a tossing and turning Rosa to an backgrounds shots of an over the top flaming tee pee burner, nice touch:





When Rosa the country bumpkin finally runs away to the big city to find Neil he first stands her up then tells her he's going to marry a socialite during a limo ride, again Vidor visually clobbers, emphasizing the "putting out the flame" so to speak with a downpour that Rosa runs out into. . What follows is a nice Noir vignette of the rainy streets of Chicago


Rosa gets the blolwoff








She runs into a club for refuge but is asked to leave by the management (because she is an un-escorted woman) who mistake her for a prostitute.




Rosa comes crawling back to Podunk and the Doc and all is well for a while until Neil pops back into her life telling her that he is in love/lust with her after all, but now she is pregnant with the Doc's baby and Moose threatens to tell Neil. Rosa has plans for Moose.


This Noir meller mixes adultery, with abortion and murder. After Rosa's attempt to miscarry by jumping off a road embankment is unsuccessful she is bedridden with a burning fever that makes her delirious she feels trapped in Podunk. She is determined to leave and she dresses and stumbles towards the station and the steaming locomotive that beckons to her for her trip to Hell.





Entertaining 7/10



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Mike Reese is a reporter who is about as sleazy as they come. He must be, he's played by Dan Duryea in the Cy Endfield noir gem. Chuck Tatum of *Ace in the Hole* has nothing on Mike - except that he probably makes a bigger salary.


Mike's lost his job because given some confidential info about a mobster's secret testimony, Mike runs it the paper that employs him which causes the bad guys to know just where to ambush the man testifying. Sure, the paper is equally at fault, but they'll get off by printing an apology, Mike's the scapegoat.


With a stake provided by the local New England gangster who benefited most from the silenced witness, Mike buys into another suburban newspaper. Shortly thereafter, the murder of the daughter-in-law of a prominent publisher and the cover-up as well as the innocent victim accused of the murder, has Mike manipulating all in his path to make his way back to the top and a few bucks on the side.


As the guilty person says of the accused: "She's a n-word, who is going to take her word over ours?"


This one is that gritty, but it moves with B movie speed not trying to make a social statement. Or is it? What happened to director Endfield, having to relocate owing to HUAC, has some reading "witch hunt" into the narrative but if one didn't know the personal history, it's a riveting tale anyway that reveals the levels and layers of corruption and also of the depths of sacrifice. Subtext is just as often the baggage one brings to a film as opposed to what the director installs.


Gale Storm, Herbert Marshall, Harry Shannon, Michael O'Shea and Howard da Silva in what seems to be a return to the character he played in *The Blue Dahlia* all figure prominently. Got this from the Warner Archive, highly recommended you do also when they have another sale. This will be getting many future plays as I turn others on to this unheralded gem.

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Director: Maxwell Shane writer/director of those unambiguous noirs Fear in the Night (1947) and and its remake Nightmare (1956). It stars: Vittorio Gassman in his first American film, Gloria Grahame, Jerry Paris, Robin Raymond, and Ann Robinson. An off the radar light Noir with a message.




From IMDb: Peter (Gassman), a WW II 'displaced person' about to be deported jumps ship in New York harbor in an effort to find an ex-G.I named Tom (Paris)whom he helped during the war and can prove Peter's right to legal entry in the United States. It is a race against time for if he can't Tom within 24 hours and prove his case, he will be branded a fugitive and will be permanently disqualified for U.S. citizenship. His quest leads him to befriending Maggie (Grahame), a down-on-her-luck factory worker whom he rejuvenates through his good faith; a visit to a jazz club where Paris is auditioning for Shorty Rogers and trombonist Jack Teagarden band playing, and an interlude with a good- hearted burlesque dancer, Tanya Zakoyla (Raymond), takes him to her mother's home for food and rest. The climax comes at dawn in the United Nations building (the "glass wall" of the title) where he goes to plead his case and that of all displaced persons. The film is very dark for probably 4/5ths of its length, until its finale at the UN.


Vittorio Gassman





Gassman and Grahame








Gassman stumbling around Manhattan with a broken rib





Some nice noir lighting of a Burlesque Theater stage door





and location shot on Times Square





Burlesque Dancer Robin Raymond







Jack Teagarden with his slush pump






The acting by Gassman, Grahame, Paris and the rest of the cast is excellent. Some great NYC location shots of Times Square, Mid Town Manhattan and the 3rd Avenue El (though some of them are obvious rear projections), and an entertaining enough story, and Gloria Grahame for once doesn't die in a Noir, lol. My only complaint is its a bit too short a few minutes longer with each vignette would have been nice. 7-8/10


This film is in a DVD set called The Bad Girls of Film Noir Volume 1 its companion film on the DVD is Bad For Each Other which is more of a tear jerker melodrama starring Charlton Heston and Lisbeth Scott that is not Noir at all and more of a soap opera.





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  • 3 weeks later...

*The Unsuspected* Director: Michael Curtiz, stars: Claude Rains, Joan Caulfield, Constance Bennett, Hurd Hatfield, Ted North, Jack Lambert, and Audrey Totter. WOW, this turns out to be a very entertaining, who-dun-it, where you kinda know/guess who-dun-it but don't really care because its a great ride with very witty dialog getting to the end with quite a number of unexpected twists along the way. Another plus for me is its New York references and location shots, Grand Central Station, the 3rd Avenue el, a three tailed PAA Lockheed "Connie" Constellation, Peekskill, Croton, the Queensboro Bridge, The Hell Gate Bridge, Wards Island, The Sawmill River Parkway, and the old main terminal at Laguardia Airport to name a few.



The story starts out with a murder in a Croton Mansion belonging to millionairess Matilda Frazier (Caufield) who at the onset we learn has been lost with all hands in a fire at sea. Living at the mansion is Matilda's uncle and ward to her estate, popular writer, and radio mystery/true crime show host Victor Grandison (Rains), along with his other niece Althea Kean (Totter) and her drunkard husband Oliver (Hatfield) who don't have a penny between them.




Victor Grandison (Rains) below and Althea Kean (Totter) right, Oliver Kean (Hatfield) below.





The murder victim is Victor's secretary who is strangled while she is on the phone to Althea, the murderer arranges the study to make it appear that the secretary has committed suicide by hanging herself. Various clues and facts are quickly displayed and piled up at the front end of this that you are so flooded with information that it is chore of a mystery just trying to figure out what is relevant and what is not.



Jane Moynihan (Bennett)




We cut to Manhattan and Victor's radio program where we meet producer Jane Moynihan (Bennett), and as Victor is doing his spiel on the murder that was faked as a suicide in his mansion, we zoom in on a speaker and in turn cross-fade to a steam locomotive emerging from a tunnel then to a portable radio in a New York Central passenger car heading north where Oliver is listening apprehensively to the details of the case and then we rotate out the window and see Oliver superimposed by reflection on the town of Peekskill rolling by. Next we leave the train and zoom up Peekskill's main drag to the exterior of Hotel Peekskill and in turn find ourselves inside a darkened hotel room that has a shrouded figure (Lambert) on a bed listening to a radio also with Victor's program. The room is lit only by the flashing light of the hotel sign and the letters viewed from the window spell "KILL", "KILL", "KILL" and iconic Noir sequence if there ever was one.


Lambert & KILL sign




The Hotel Peekskill sequence:






At a surprise birthday party for Victor a stranger Steven Francis Howard (North) arrives claiming to be Matilda's husband. He claims that right after Oliver jilted Matilda three days before their wedding marrying Althea, Matilda married him on the rebound. He has a marriage certificate to prove it and he is also heir to an oil fortune, so that eliminates a shady motive for the claim.



Althea (Totter) & Howard (North)




Howard and his millions are more attractive to Althea than her alcoholic hubby and she "vibrates" towards Howard causing Oliver to imbibe even more. Now on top of all this we discover by telegram that Matilda was rescued by a radio-less fishing boat that finally made port in Brazil and she is winging it home to Laguardia Airport. This one is a must see for how well everything meshes.



Matilda (Caulfield) and Victor (Rains)




Oliver (Hatfield)





Wards Island NY location with Hell Gate & Triboro Bridges:





The film also has a pretty good chase sequence at the end but of course its movie geography that anybody familiar with NYC and environs will get a laugh out of. 10/10



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{font:Arial}*FALL GUY*, based on Cornell Woolrich's story "Cocaine," was presented at the TCM Film Festival in honor of *Walter Mirisch*, who was interviewed by Foster Hirsch after the showing. This was the first film Mirisch produced; he was 24. He said we were going to see his learning experiences up on the screen. Mirisch said that the director, *Reginald LeBorg*, actually had the last name Grobel, but he reversed the spelling to get "LeBorg." Hirsch mentioned the three Oscar-winning films Mirisch produced in the 1960s (*THE APARTMENT, WEST SIDE STORY, IN THE HEAT OF THE NIGHT*). Mirisch said how thankful he was to live in a country which gave him the opportunity to do what he loved.

Whereas *FALL GUY* was made in 8 days, *INVASION OF THE BODY SNATCHERS* took all of 14 days. Mirisch denies any allegorical intention with *BODY SNATCHERS*; he just thought it was the best thriller story he'd ever read. Hirsch said that for years he'd taught his students that the film was an allegory about Communism. Mirisch mentioned that there were battles with the censors over mention of drugs in *FALL GUY*, and the finished film seems to wobble between suggesting that the hero was drunk and that he had used drugs.

*FALL GUY* has a noir nightmare plot: the hero (*Leo Penn*, billed as Clifford Penn, who is the father of Sean and Christopher Penn) wakes up, thinking that he may have killed a woman. His fiancee and a sympathetic cop friend (*Robert Armstrong* of *KING KONG*) try to help him discover the truth. Some expository scenes early in the film are not too well acted, but once the film gets moving, it's fun, if your expectations are not too high. There are some nice twists along the way. The audience applauded at the appearances of *Elisha Cook, Jr*., playing the same kind of role as in *PHANTOM LADY*, and *Iris Adrian*, who is simply a hoot as she supplies some welcome comic relief. They give the best performances in the film, although Penn has potential as a leading man. He had blacklist problems, but became a successful TV director.
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Illegal Entry(1949)A brutal gang is flying in EXConcentration camp survivors into the US.The head of the gang running a transportation service as a front is Nick Gruber(Tom Tully)Theres a MR Big on the other side of the border.



FBI agent Dan Collins(George Brent)asks Ex WW2 ace, Burt Powers(Howard Duff)to get into the mob and help smash it and also find out who MR Big is.Burt at first refuses, but after meeting the wife,Anna Duvak(Marta Toren)of an old flyer buddy who was killed during the war,Burt agrees.Anna is being forced to work for the gang because they flew in her brother,Stefan(Eric Feldary)



Burt joins the gang and finds MR Big is depoerted mob czar,Dutch Lempo(Richard Rober)whos in love with Anna.



Feeling hes destroying Annas life,Stefan commits suicide and Anna is through with the mob.Lempo demands to be flown back into the country to make up with Anna and Burt and the mobs ace pilot,Zack Richards(Paul Stewart)are sent to get him.Burt alerts Collins,but on the way back in, Richards gets word that Burts working for the FBI.






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Sleep,My Love(1948)Allison Courtland(Claudette Colbert)is a rich women from a well to do family.Her husband Richard(Don Ameche)is a no good cheater with little love for Alliison and is having an affair with slutty model Daphne(Hazel Brooks)Daphnes boss, Charles Vernry(George Coulouris)and his wife Grace(Quennie Smith)are working with Richard.Richards plan is to get rid of Allison,get her money,and marry Daphne.







Richard tells Allison shes going mad and tells her Charles is a doctor.







Through a friend Allison meets Bruce Elliott(Robert Cummings)who soon suspects Richard,Charles,and Daphne are out to kill Allison.







Great Film Noir as good as it gets.DONT MISS.









Edited by: ERROL23 on May 7, 2012 8:07 PM


Edited by: ERROL23 on May 7, 2012 8:09 PM

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  • 2 weeks later...

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The Tattooed Stranger (1950)

Director: Edward Montagne, stars John Miles, Patricia Barry and Walter Kinsella. {font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Cheapie little police procedural that works. A girls is found in an abandoned car in NYC's Central Park murdered by a shotgun blast. All the cops have to go on is the evidence they collect from the car and the tattoo on the girls arm. What it is doing on a Film Noir list is debatable, its not stylistic or dark, save for a few chase scenes in the hospital morgue and in a tenement basement good enough for Shelby's book I guess. {font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Walter Kinsella and John Miles play the two detectives from homicide on the case and we follow them as they track down the killer. {font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Some great seedy location shots of Lower Manhattan Tattoo Parlors and the area around the Brooklyn Navy Yard.{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Worth a watch if you come across it. 7/10{font}

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Directed by Vincent Sherman and Robert Aldrich and written by Lester Velie and Harry Kleiner. Starring, Gia Scala, Lee J. Cobb, Kerwin Matthews, Robert Loggia, and Richard Boone.


Alan Mitchell (Matthews) is a returning Korean War veteran who joins his father Walter's (Cobb) garment company, Roxton Fashions. The firm has been paying protection money to gangsters led by Artie Ravidge (Boone) to keep the union out.


Matthews left & a bevy of dress models

Walter's partner, Fred Kenner, is pushed to his death down an elevator shaft just as he is about to sign a deal with the union. Tulio Renata (Robert Loggia) is a union organizer trying to organize the factory who also later gets murdered by Ravidge's men, and his wife Theresa Renata endures threats against her and their child.
Mitchell comes to sympathize with the plight of the workers. When he finally convinces his father to fire the union busting gangsters, Walter is killed and Ravidge attempts to take over the factory.

Boone & Loggia

The film is not very noir but does have some noir-ish sequences, a movie with a message pretty typical of the end of the Classic Noir cycle. Worth a rent from Netflix 6.5-7/10.

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{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Director: William Berke, Stars: Robert Loggia, Gerald S. O'Loughlin, Shirley Ballard, Vince Gardenia, and Ellen Parker. Cop Hater is the first 87th Precinct police procedural novel by Ed McBain. {font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The murder of three detectives in quick succession in the 87th Precinct leads Detective Steve Carella (Loggia) on a search that takes him into the city's underworld {font}
{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Written by Evan Hunter using the name Ed McBain, the book was inspired by a television show he greatly admired, Dragnet. McBain chose to set his 87th Precinct series in the fictional city of Isola, based on New York City.{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Loggia and Parker{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The city has surrendered to a heat wave in July 1956, not many buildings have air-conditioning. When detective Mike Reardon is on the way to work on the nightshift, he is shot to death from behind with a .45. Steve Carella and his colleagues from the 87th Precinct are looking for their friend's killer, and they have no idea that this is just the beginning of a series of police murders. David Foster is the next victim, at the entrance of his apartment, where the killer has left behind a footprint at the crime scene. Steve Carella and Maguire (O'Loughlin) question the likey suspects. A few nights later the unknown killer ambushes and murders Maguire. Steve Carella fears he will be the next target if he fails to stop him. A young Vince Gardenia plays a stoolie.{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Gardinia{font}
CopHater04.jpg{font:Verdana, Arial, Helvetica, sans-serif}{size:12px} {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Teddy (Parker) is Carella's mute gal pal, she is a cutie and becomes part of the final confrontation after she has just emerged from the tub wearing only a bath towel and the proceedings get on the very of kinky as Teddy is backed onto a table while the killer is seated before her, you wonder which gun he may use. Alice Maguire (Ballard) is equally toothsome parading around in her bra and panties for a good majority of her scenes.{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}O'loughlin as Maguire dealing with the heat wave{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Ballard as Mrs Maguire dealing with it in her way{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Teddy {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The films biggest problem is that the investigation sequences seem a bit too rushed in spots making the film uneven, and there seem to be hardly any location shots which gives the film a cheap production feel on the whole. Its not very noir visually but it has an excellent femme fatale. 6.5/10{font}

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In a Lonely Place (1950)

is a [film noir|http://en.m.wikipedia.org/wiki/Film_noir|Film noir] directed by[Nicholas Ray|http://en.m.wikipedia.org/wiki/Nicholas_Ray|Nicholas Ray], and starring [Humphrey Bogart|http://en.m.wikipedia.org/wiki/Humphrey_Bogart|Humphrey Bogart] and[Gloria Grahame|http://en.m.wikipedia.org/wiki/Gloria_Grahame|Gloria Grahame], produced for Bogart's Santana Productions. The script was adapted by Edmund North from the 1947 novel [in a Lonely Place|http://en.m.wikipedia.org/wiki/In_a_Lonely_Place_(novel)|In a Lonely Place (novel)] by[Dorothy B. Hughes|http://en.m.wikipedia.org/wiki/Dorothy_B._Hughes|Dorothy B. Hughes].^[[1]|http://en.m.wikipedia.org/wiki/In_a_Lonely_Place#cite_note-0]^


Bogart stars in the film as Dixon Steele, a cynical screenwriter suspected of murder. Grahame co-stars as Laurel Gray, a neighbor who falls under his spell. Beyond its surface plot of confused identity and tormented lust, the film is a mordant comment on Hollywood [mores|http://en.m.wikipedia.org/wiki/Mores|Mores] and the pitfalls of celebrity and near-celebrity, in much the same vein as two other more widely publicized American films released that same year, [billy Wilder|http://en.m.wikipedia.org/wiki/Billy_Wilder|Billy Wilder]'s [sunset Boulevard|http://en.m.wikipedia.org/wiki/Sunset_Boulevard_(1950_film)|Sunset Boulevard (1950 film)] and [Joseph Mankiewicz|http://en.m.wikipedia.org/wiki/Joseph_Mankiewicz|Joseph Mankiewicz]'s [All About Eve|http://en.m.wikipedia.org/wiki/All_About_Eve|All About Eve].



Although not as well known as his other work, Bogart's performance in this film is considered by many critics to be among his finest and the film's reputation itself has grown over time along with Ray's.^[[2]|http://en.m.wikipedia.org/wiki/In_a_Lonely_Place#cite_note-telotte-1]^



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{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Director: Fritz Lang, Writers: Seton I. Miller (screenplay), Graham Greene (novel). Starring Ray Milland, Marjorie Reynolds. Dan Duryea, Hillary Brooke, and Carl Esmond.{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}This whole film has a sort of stylistically surreal/cheap quality to it, in part because its all studio bound, and it also has a plethora of interesting characters in minor parts one notably for me was Hilary Brooke who was imprinted upon me as a child from the numerous Abbott & Costello TV show episodes where she was a regular. She makes a stunning entrance as a Spiritualist. Dan Duryea has some memorable appearances also.{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Brooke{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Duryea{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Storyline:{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The film opens on a ticking clock in a dark room and then to Steven Neal (Milland) sitting at a table. Tick tock tick tock. He's waiting for 12:00 when he will be released from an asylum where he has been for two years for the mercy killing of his terminal wife. He is released into WWII England after two years in an asylum, but it doesn't seem so normal on the outside either. {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}He stumbles upon a carvival/charity bazaar where the patrons seem a bit off and downright loony, and he wins a cake at the advise of a fortune teller, which he takes back with him on the train to London. His companion in the train compartment is a blind man who is not what he seems. Neal doesn't quite know who to turn to or who to trust. Some very nice stylistic cinematography from Lang{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Fortune Teller & Milland{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The Blind Man{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Very interesting addition to a Noir library, one of the first Noirs filmed during WWII 7/10{font}

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{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Director: Robert Siodmak, Writers: Anthony Veiller (screenplay), Ernest Hemingway (story), and 2 more credits » Stars: Burt Lancaster, Ava Gardner Edmond O'Brien, Charles McGraw, William Conrad, Jack Lambert, Virginia Christine, Albert Dekker, and Sam Levene.{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Its about time this title had a formal thread I just picked up the Criterion issue so here goes:{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The film opens with a through the windshield shot of a winding two lane highway lit by headlights, we next see a street flooded by an off screen streetlight that provides an eerie pool of light. We are immediately transported into Noirsville. Two dark figures approach a closed filling station, they turn and head to a diner/lunch counter each going in opposite entrances. So begins Earnest Hemingway's The Killers directed by Robert Siodmak. {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Noirsville....{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The story line is told mostly in flashback. Two hit men (McGraw & Conrad) gun down the Swede (Lancaster) in Brentwood NJ, the Swede, who even though warned of his impending peril makes no effort to flee, he is resigned to his fate. The Swede leaves a $2500 life insurance policy with the name of a Atlantic City hotel cleaning lady as the beneficiary. Insurance investigator Riordan (O'Brien) curious to the facts of the Swede's death, tracks her down and through questioning eventually arrives in Philadelphia with the Swede's real name meets his boyhood buddy police LT Lubinsky (Levene) and discovers that the Swede was an ex-prize fighter turned small time numbers racketeer. {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}McGraw and Conrad terrorizing the counterman at the diner{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Lubinsky and his wife (Christine) who was an old flame of the Swede's fill in the details of his pre Brentwood NJ life. The Swede went seriously off the tracks when he ran into a devious femme fatale, Kitty (Gardner) who he fell head over heals over at a party thrown by gangster Big Jim Colfax, (Decker). Colfax plans a payroll robbery and a double cross and the Swede is the fall guy.{font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The Swede, "dumbstruck" by vivacious Kitty (Gardner) she's got him hooked and is playing him.{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Big Jim Colfax (Decker){font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}Riordan and Kitty{font}


{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The opening sequence is a classic, not to be missed and a must see for any noir enthusiast (even if they don't like Lancaster, lol) {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}From IMDb {font}

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}{color:yellow}Siodmak, Lancaster's first pairing is one of noir's central masterpieces, 4 January 2002

Author: bmacv from Western New York

The Killers marked Burt Lancaster's screen debut, establishing the stoic persona that would sustain his long and luminous career. Along with Criss Cross (also starring Lancaster), The Killers also records the high-water mark of Robert Siodmak's work in film noir.

Starting with a Hemingway short story (the retelling of which constitutes only the prologue to the film), The Killers endeavors to fill in the "back story" which Hemingway left to his readers' imaginations. That back story explains why the "Swede" (Lancaster) passively, almost eagerly, awaits the nasty pair of torpedoes (William Conrad, Charles McGraw) who have come to hunt him down. The germ of this recreation is Lancaster's small, solitary bequest -- to a chambermaid in an Atlantic City hotel where he had once stayed. Insurance investigator Edmond O'Brien catches the scent of something unusual and can't let it go. His investigations, helped by an old buddy of Lancaster's who is now a police lieutenant (Sam Levene), uncover a botched stint as a prizefighter; a smouldering yet duplicitous temptress (Ava Gardner), and a payroll heist that ended in an elaborate double cross.

Siodmak, having disposed of the end right at the outset, takes a circuitous route through his telling by using a fragmented series of flashbacks. Paradoxically -- much as the false starts and averted climaxes in a Bruckner symphony pay off handsomely in the end -- the story thus gains depth and momentum. Woody Bredell's dark and meticulous cinematography fulfills Siodmak's vision, resulting in one of the central masterpieces of the noir cycle.

{font:Verdana, Arial, Helvetica, sans-serif}{size:12px}The Criterion DVD box includes the bonus DVD 1964 remake by Don Don Siegel, and so far I've watched a commentary extras by Stuart Kaminsky who provided dialog for OUTIA, and a reading of Hemingway's short strory The Killers, and more I have yet to view.{font}

Edited by: cigarjoe on Jul 9, 2012 8:00 PM

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Shield For Murder(1954)Tough police detective LT Barney Nolan(Edmond OBrien)kills a runner for bookie,Packy Reed(Hugh Sanders)Barney finds $25.000 on the dead man and fed up with his small pay decides to keep it.Barney makes the killing look like an accident.A mysterious man witness the whole thing.



Barney hides the money and hes hailed a hero by everyone on the force except Capt.Gunnason(Emile Meyer)Everything goes to plan till Barneys friend,SGT Mark Brewster(John Agar)and Barneys girl(Maria English)find Barneys a sadistic bully.






Good scene when Barney and Packys hood(Claude Akins)have a shootout at the public swimming pool.



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