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Secret Agent Of Japan(1942)Good WW2 Noir with Preston Foster and Lynn Bari.

 

 

 

 

Edited by: ERROL23 on Aug 4, 2012 8:07 PMhttp://en.wikipedia.org/wiki/File:Secret_Agent_of_Japan_FilmPoster.jpeg

 

Edited by: ERROL23 on Aug 4, 2012 8:07 PM

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DVDr's mostly from Film Noir fans

 

Some are old copies on DVDr from AMC when AMC was showing uncut films, ditto from FMC, some are R2 DVD's from Europe, some are VHS tapes or DVDr copies of VHS tapes. The quality ranges from excellent to very poor but sometimes that the only cheap route you have.

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*New Orleans Uncensored* (1955) Beverly Garland & Helen Stanton are knockouts 6-7/10 nice New Orleans locations - story average and *Vice Raid* (1960) 6/10 Mamie Van Doren - Richard Coogan - Brad Dexter - tepid Crackdown On Call-Girl Racket! - Van Doren is a tad too Rubenesque her kid sister Carol Nugent is hotter

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I'd have to say that my fav film genre is film-noir--especially as of late. So for my 1st post on these forums I'm going to rate all the classic noirs I've watched in the past year or maybe 2 lol B-)

 

Out of the Past - 9.5/10

Ace in the Hole - 9.5/10

 

 

Laura - 9/10

Night and the City - 9/10

Nightmare Alley - 9/10

Kiss of Death - 9/10

Criss Cross - 9/10

Murder, My Sweet - 9/10

The Big Heat - 9/10

 

 

The Narrow Margin - 8.5/10

The Set-Up - 8.5/10

D.O.A. - 8.5/10

The Big Combo - 8.5/10

On Dangerous Ground - 8.5/10

The Naked City - 8.5/10

 

 

Crime Wave - 8/10

Detour - 8/10

While the City Sleeps - 8/10

Act of Violence - 8/10

Angel Face - 8/10

The Petrified Forest 8/10

Crossfire - 8/10

 

 

This Gun for Hire - 7.5/10

The Glass Key - 7.5/10

Gun Crazy - 7.5/10

Scarlet Street - 7.5/10

The Stranger - 7.5/10

The Postman Always Rings Twice - 7.5/10

 

 

Born to Kill - 7/10

 

 

Clash by Night - 6.5/10

The Racket - 6.5/10

 

 

Any recommendations? I've seen all the obvious ones of course...

 

Edited by: ShatteredDreamz13 on Dec 21, 2012 3:31 AM

 

Edited by: ShatteredDreamz13 on Dec 21, 2012 3:38 AM

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Well the book Film Noir (Ward Silver), classifies Mildred Pierce as a noir. The lead characters are noir characters but with non standard noir type relationships (e.g. daughter as femme fatale but to her mom, instead of a girlfriend to noir man).

 

 

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The Big Shot is the last Bogie 'programmer'. I assume Jack Warner already had this movie lined up and ready to go and so even after hits like High Sierra and The Maltese Falcon (where the light had to go on it JW head to know that he had something special in Bogie), JW decided to waste Bogie in this average crime drama.

 

 

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Hi JJZ: Are you a gangsta? Forgive me. Love noir. I didn't see the film you discussed but apparently I can save myself the trouble. I'm new here (actually renewed) and The Third Man has probably been discussed to death, but I have to say it's one one of my favorite films of any genre. Is Orson Welles' supporting performance the best ever? Certainly the best entrance. And the film itself is beautifully shot. I welcome any opinions.

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Just watched this very much in need of restoration film on a cheap Apha DVD from Netfix.

This film needs it a great noir with one of the most memorable femme fatales of the cycle I'll give it a conditional 8/10 until I can catch a superior presssing.

 

Nice write up on the Back Alley Forums below

 

Too Late for Tears: A study of the pathological housewife by Guy Savage

 

Too Late for Tears (1949) has all the elements of my favorite type of film noir: a vicious woman--so crafty and so evil she fools, manipulates and destroys the men in her life, a once-in a lifetime opportunity to get rich (so what if it involves a few corpses), the double cross when you least expect it, and a fast trip all the way down that slippery moral slope to film noir purgatory. Directed by Byron Haskin (I Walk Alone and The Naked Jungle) and based on a novel by Roy Huggins, Too Late for Tears showcases former fashion model, gravel-voiced Lizabeth Scott in one of the two major roles she played in Hollywood. Although Scott was slated for stardom, her career fizzled, and she was never given the roles that could have catapulted her to the top. In 1955, she sued Confidential magazine for libel, but the case was thrown out on a technicality. In 1957, amidst rumors that she was blacklisted, Lizabeth Scott retired from the screen, bringing her all-too-short film noir career to an end. To see her play the main role of pathological housewife Jane Palmer in this 1949 film is nothing less than pure pleasure. Too Late for Tears is currently only commercially available as a very problematic Alpha DVD, but let?s be grateful for what we can get.

 

Too Late for Tears is a very tight film with no wasted scenes and no fluff--the very first scene takes us right into the action, and right into the marriage of Jane (Lizabeth Scott) and Alan Palmer (Arthur Kennedy). It?s nighttime, and the Palmers are in their convertible enroute to a friend?s home when someone in a passing car tosses a bag that lands in the back seat. Alan pulls over, and Jane grabs the bag. Inside the bag is money--lots of money. When another car appears, Jane doesn?t hesitate; she grabs the wheel, orders Alan into the car and leaves the scene, careening in a high-speed chase along the dark, lonely road. Back home, the Palmers debate what to do with the loot. Squeaky-clean Alan wants to do the right thing and hand the money over to the police, but Jane resists. When Alan insists that the money is a ?bag of dynamite,? Jane turns on the charm and wheedles a short grace period from Alan with the excuse that holding the money for a few days can?t hurt.

 

The next thing you know, while Alan is off working for that measly paycheck, Jane is hitting all the swanky department stores in L.A., returning home with boxes stuffed with furs. Committed to keeping the money, with or without Alan?s agreement, she hides the boxes under the kitchen sink. Just how much planning is going on in Jane?s conniving little head is uncertain, but it?s clear that she considers the money hers.

 

A great scene occurs when Alan uncovers Jane?s new lavish spending habits. Once again, he wants to turn the money over to the police, but once again Jane wheedles him into keeping it. This time, she agrees to let Alan stash the money at a local station. But the interesting element to this scene is that Jane reveals a side of herself she?s so far managed to keep under wraps. While Alan tries to explain to Jane that the money will bring them nothing good, Jane reveals a deep-rooted avarice that stems back to her childhood:

 

?We were white collar poor. Middle class poor. The kind of people who can?t quite keep up with the Joneses and die a little every day because they can?t.?

 

There?s a hunger in Jane for the finer things in life, and the bag of money has started to feed that hunger. Positively **** when she fondles those wads of stolen cash, she?s not about to give up her one shot for big-time wealth, and woe betide anyone who stands in her way. Unfortunately Alan doesn?t listen to Jane?s revelations that she?s always lusted for wealth, and her slippery ability to switch her submissive behavior on and off deceives him.

 

Fate steps into the Palmers? lives in the form of Danny Fuller (another great favorite of mine, Dan Duryea), a cheap hood who shows up looking for the money. Jane immediately turns on the charm, crossing those long legs just enough to catch Danny?s eye, and while he has her number, he can?t resist the invitation. Danny is the bad guy in the film, and when he makes his appearance, he does the traditional bad guy stuff, threatens Jane, shoves her around a bit, and even gives her the occasional whack. It?s interesting to see Jane respond, and her responses should give Danny a clue what he?s up against. His threat of violence doesn?t subdue Jane, she simply regroups and waits like a coiled snake. Even though Jane needs Danny?s brawn (she?s the one with the brains), within a short time, Danny?s relationship with Jane leaves him a quivering mess, operating under her orders in a whining, alcoholic haze.

 

The other female role in the film, and the antidote to Jane, is an equally strong woman, Alan?s sister Kathy (Kristine Miller), a wholesome brunette who accepts Jane as her brother?s wife but doesn?t particularly like her. When Alan disappears and a story emerges that he?s absconded to Mexico with his mistress, Kathy isn?t buying it. At this point, Kathy?s vague uneasiness about Jane surfaces and coalesces in a relationship with a mysterious stranger. This mysterious stranger, Don Blake (Don Defore) claims to be an old WWII buddy of Alan?s, and he appears after Alan disappears without trace. Jane is immediately suspicious of this stranger, and she tries the seductive routine again. Blake is the one man who doesn?t respond to Jane?s brazen flirtations, and so once Jane establishes that Blake is not vulnerable to her sexuality, she rapidly dismisses him, wasting no further time on a man she can?t manipulate.

 

Of the three main male roles in the film: Alan, Don, and Danny, Danny is the most pliable and therefore the most vulnerable to Jane?s seductive wiles. Alan tries to maintain some standards, and he ends up dead at the bottom of a lake loaded down with concrete. Don is impervious to Jane?s wiles, so she doesn?t waste time on him. Danny, however, is a weak-willed blackmailer who thinks he?s hit the big time, and his greed and desire for sex make him putty in Jane?s hands. He correctly assesses the dangers of a partnership with Jane: ?don?t ever change, Tiger. I don?t think I?d like you with a heart,? and he tells Jane: ?you?ve got me in so deep, I can?t get out.? Danny, who?s done a lot of illegal things in his lifetime, balks at murder, but he lacks the moral fiber to defy Jane. While he reaches and crosses the moral boundaries of his actions, it?s doubtful that Jane has any such limits. Even recognizing Jane for what she is doesn?t save Danny; he?s eventually seduced into his own death by her erotic power and dominant personality.

 

There are also two minor male roles in the film worth examining. Jane picks up a wolfish stranger at the train station, but he sniffs there?s something evil about Jane, and he can?t get out of Dodge fast enough. In another scene, Jane stops her car along the side of a deserted road, and a male stops to help. Under normal circumstances, this scene would ring alarm bells for the viewer, and we would sense the potential danger for the female. Not so in Too Late for Tears, and while the male stranger naively tells Jane: ?lady, you ought to have some male protection? we realize that he?s the one who needs protection. Even the policeman who stops to see if Jane is all right buys into the myth that this little vulnerable woman needs protection out on the highway.

 

I?m a sucker for film noir that includes the vicious dame. I don?t care if she?s a debutante, a career woman or a housewife, the meaner the better. But somehow, the fact that Jane seems to be a perfectly normal housewife who morphs into a stone-cold killer makes Too Late for Tears that more interesting. After all, what does this say about middle-class America if the housewives and future mothers are so ready to murder those who get in the way of material gain? The character of Jane Palmer, played here with such delectable and duplicitous precision by Lizabeth Scott stands in the Dark Dame Film Noir Hall of Fame along with the infamous Cora Smith (luscious Lana Turner in The Postman Always Rings Twice) and deadly Phyllis Dietrichson (steely Barbara Stanwyck in Double Indemnity). Jane Palmer is a member of this savage sisterhood, women trapped by marriage, boredom, and domesticity, who murder to break out of their mundane lives. So if you like your women tough, murderous and heartless, they don?t come much colder that femme fatale, Jane Palmer, and this is why Too Late for Tears makes my Top Ten Noir list.

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I'm a big fan of noir. As for The Big Shot, well since it has Bogie it has it good moments but like I said it was the last film Bogie made that has the look and feel of a programmer.

 

The Third Man is one of the best movies from that era and yes, there is no better 'minor' role than Welles. I have seen the movie many times but when it is on TCM I always ensure I watch the scene where Welles is introduced with the cat. That smirk and look in his eyes! Gold!

 

 

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I love the now-you-see-him, now-you-don't lighting trick in the kitty scene. So many amazing scenes in Third Man. Orson verbally sparring with Joseph Cotten on the ferris wheel. Loved the "cukoo clock" line. His fingers reaching through the sewer grate in a hopeless attempt to escape. Actually the entire chase in the sewer. Valli's long walk past Cotten. Oh and what about that creepy little kid chasing after Cotten? AND let's not forget the zither.

 

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Red Light(1949)http://www.impawards.com/1949/red_light.htmlRaft made a series of mistakes,he turned down High Sierra,Dead End,Double Indemnity,Maltese Falcon,and Casablanca.As we all know those movies never got anywhere.(Bogie must have been calling him and saying,Hey George.Got any more terrible films you dont want to do?)This one Red Light was a good part for him.He was a trucking head whos brother was killed by bad boy Raymond Burr.DONT MISS.

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