Archive | film noir RSS feed for this section

VICE SQUAD (1953) – The Real “Dragnet”

17 Sep

VICE SQUAD (1953) is a sharply-directed, fast-paced black-and-white crime thriller that follows a full shift in a day’s work for a police captain in the Vice Squad of the Los Angeles Police Department. The filmmakers shot it largely on location on a tight schedule and sought authenticity in every scene, adopting a semi-documentary approach that makes it one of the more believable police dramas of the era. As such, it offers a sharp contrast to the popular TV series of the time, “Dragnet” (1951-59), which, as much as I like it and as much as it was based on true cases, has always seemed to me quite stylized in its depiction of the LAPD through the quirky sensibility, off-kilter humor and incessant moralizing of its producer-director-star, Jack Webb, who played Sergeant Joe Friday in the show. I can imagine a conversation among the director, writer and producers of VICE SQUAD, where they wondered what “Dragnet” would look and sound like with someone in the central role who didn’t make speeches to all and sundry and wasn’t immune to bending the rules and making compromises to get the desired results in a case, i.e., someone less like Sgt. Friday (Webb, pictured below) and more like the actual police captain they consulted before making the film.

Continue reading

Marie Windsor Centennial: Femme Fatale Extraordinaire

11 Dec

Marie Windsor would have turned 100 today, December 11, 2019. She was an unforgettable character actress who had a 50-year career in movies and television (1941-1991) and died in 2000 at the age of 80. She’s best known for playing femmes fatale in crime movies and film noir and outlaw women in westerns throughout the 1940s and ’50s. Her most memorable roles for me were in THE NARROW MARGIN (1952) and THE KILLING (1956) and the westerns, HELLFIRE and DAKOTA LIL. She also guest-starred in numerous TV shows, including four episodes of “Perry Mason.”

Continue reading

“Picture Parade” – The Films of 1949

6 Oct

Once upon a time I purchased a used book entitled Peter Noble’s Picture Parade. It turned out to be from the U.K. and was one of an annual series of pictorial books in which English film critic Peter Noble covered the year’s releases, concentrating mostly on Hollywood and British films. The volume I have is from 1949, 70 years ago, and features a mix of movie star head shots and scenes from different films that premiered in England in 1949, some of which are older Hollywood films, with brief captions. While most of the illustrations are in black-and-white, there are a good number of color pages and I was struck by how beautiful the color shots were despite being printed on ordinary book paper, rather than glossy pages. There are many obscure films and stars highlighted, but most of the Hollywood stars featured in the color shots are generally still well-known and embraced by film buffs and TCM viewers today, like Marlene Dietrich:

Continue reading

White Heat: 70th Anniversary of an American Crime Classic

3 Sep

On September 3, 1949, 70 years ago today, Raoul Walsh’s crime thriller, WHITE HEAT, opened in the U.S.  Its star, James Cagney, was renowned in the 1930s for his gangster portrayals in such films as PUBLIC ENEMY, G-MEN, and EACH DAWN I DIE, but he hadn’t made a crime film at all in the ten years since the prohibition saga, THE ROARING TWENTIES (1939), also directed by Walsh. During that time, Cagney made war films, comedies, melodramas and the flag-waving musical, YANKEE DOODLE DANDY. By 1949, gangster fans were itching for the old Cagney, while younger filmgoers needed to be reminded what he was most famous for. The original trailer for WHITE HEAT is chock full of violent, graphic action, with Cagney a relentless, murderous force, snarling, punching and shooting his way through a quick, brutal rehash of the film’s plot in three minutes: train robbery, prison, daring escape, pursuit by the Feds, and an explosive climax at a chemical plant in Southern California. Older fans were beside themselves with gleeful anticipation, while the younger ones’ jaws dropped. As the trailer put it, “It’s your kind of Cagney / In his kind of story / Blazing his way to the top of the world!”

Continue reading

Robert Aldrich Centennial

9 Aug

Robert Aldrich was born on August 9, 1918 and would have turned 100 today. (He died in 1983.) He was one of my earliest favorite movie directors. By the time I saw THE DIRTY DOZEN (pictured above, with Aldrich in the red sweater directing, with Charles Bronson on the right) in high school, I’d already seen three of his earlier films, two in theaters (THE LAST SUNSET, HUSH HUSH, SWEET CHARLOTTE) and one on TV (VERA CRUZ), and I loved DOZEN so much I made it a point to seek out every one of his films as they came out. In fact, just three weeks after I first saw DOZEN, I went to see his newest movie, TOO LATE THE HERO (1970) when it opened on Broadway. I missed the next one, THE GRISSOM GANG (1971), when it opened, but starting with ULZANA’S RAID (1972), a cavalry-and-Indians western starring Burt Lancaster, I saw every one of his remaining films in theaters on their original release. Also, as I began taking film classes in college and seeing movies in repertory theaters in Manhattan, I sought out Aldrich’s older films, especially as I learned of the high esteem he was held in by auteurists, and discovered for myself some of his very best films, including KISS ME DEADLY (1955), ATTACK (1956), and WHATEVER HAPPENED TO BABY JANE? (1962), not to mention the chance to see VERA CRUZ (1954) on the big screen. At the beginning of 2018, I finally caught up with Aldrich’s debut film, THE BIG LEAGUER (1953), a baseball drama starring Edward G. Robinson, and, as of this writing, I have only one Aldrich film left to see, the rarely-screened lesbian drama, THE KILLING OF SISTER GEORGE (1969).

Continue reading

Stanley Kubrick: Early Photos and New York Noir

24 Jul

Filmmaker Stanley Kubrick (1928-1999) would have turned 90 this coming Thursday, July 26, 2018. Known for such works as PATHS OF GLORY, DR. STRANGELOVE, 2001: A SPACE ODYSSEY, A CLOCKWORK ORANGE, THE SHINING, FULL METAL JACKET and EYES WIDE SHUT, he began directing features in 1953, but started working as a photographer doing human interest stories for Look Magazine eight years earlier while still a student at Taft High School in the Bronx. He eventually directed three documentary shorts, the first of them, “Day of the Fight” (1951), based on a photo story about a boxer he’d done a couple of years earlier.

The Museum of the City of New York is currently offering an exhibit of Kubrick’s early photographs under the title, “Through a Different Lens: Stanley Kubrick Photographs,” which runs until October 28, 2018. The exhibit gives us a chance to see what interested Kubrick in his formative creative years and how he chose to frame it. It also looks forward to his first “real” movie, KILLER’S KISS (1955), which he made on a shoestring on New York locations, drawing on his experience as a street photographer. He then went to California to make THE KILLING, a full-fledged Hollywood crime thriller with a cast of name actors (topped by Sterling Hayden) and the rest, as they say, is history.

Continue reading

In Glorious Black-and-White

14 Jul

Recently, a thread on the Home Theater Forum asked participants for their “all-time favorite movie process.” While others picked things like IMAX, 3-D, Cinerama, Todd-AO, Vistavision, Ultra Panavision 70 and the like, I was the only one to declare Academy ratio black-and-white as my favorite “process,” although “format” would be a more appropriate term. Here are the images I posted:

The Academy ratio of 1.37:1, sometimes referred to as 4:3, was the standard ratio for the motion picture frame from 1932 right up until the conversion to widescreen began in earnest in 1953, after which wider aspect ratios were used to give audiences a sense that they were getting something they couldn’t see on television. Television had adopted the ratio of 1.33:1, which had been the standard for movies before 1932 and was close enough to the Academy ratio to allow movies shot in that ratio to air on television without necessitating cropping (not that the full image was ever exactly shown, but that’s another story).

Continue reading

Robert Mitchum Centennial

6 Aug

Robert Mitchum was born on August 6th, 1917, 100 years ago today. (My father was born less than two months later.) I was born on August 6th also, on Mitchum’s 36th birthday. Mitchum died on July 1, 1997, a little over a month shy of his 80th birthday. He happens to be my favorite movie star. I wrote about him here three times already, covering his debut film, BORDER PATROL (1943); his 1949 film, HOLIDAY AFFAIR; and in a piece about Sam Fuller’s THE BIG RED ONE, his appearance in THE LONGEST DAY (1962), where he played the general leading the attack on Omaha Beach, site of the bloodiest fighting on D-Day.

Continue reading

Steve Cochran Centennial

25 May

Steve Cochran would have turned 100 today, May 25, 2017. (He died in 1965.) He was a character actor who was most active in the 1940s and ’50s, most often playing dark, good-looking heavies in crime films and westerns. He was under contract for a while to Samuel Goldwyn Productions and later to Warner Bros. where he made what I consider to be his best films. He’s probably best known for WHITE HEAT (1949), in which he had a key supporting role as one of the robbery gang led by cold-blooded killer Cody Jarrett, played masterfully by James Cagney in his spectacular return to gangster roles after a decade away from the genre.

Continue reading

Raymond Burr Centennial

21 May

Raymond Burr would have turned 100 today, May 21, 2017. He’s most famous for three roles, two on television and one in the movies. On television he first starred in “Perry Mason,” portraying the title character, a criminal defense attorney who won almost every case he took. The series premiered on CBS in 1957 (sixty years ago this fall) and ran for nine seasons (until 1966). He then returned to the role in a run of 26 TV movies that began in 1985 and continued until his death in 1993. (The final film aired after his death.)

Perry Mason 1957:

Perry Mason 1985:

Continue reading