In a Lonely Place (1950) hasn’t much to do with the Dorothy B. Hughes novel on which it was ostensibly based, beyond the title (one of the most evocative in noir history), the Los Angeles setting, and the murder of a young woman that puts our ostensible hero, volatile, hard-drinking Hollywood screenwriter Dixon Steele (Humphrey […]
The first 15 minutes of Robert Siodmak’s The Killers (1946) remains the most the most faithful adaptation of Ernest Hemingway ever put on screen. Two gunmen from the city (Charles McGraw and William Conrad) take over a small town diner to wait for their target. When he doesn’t show, they take the hit to him, […]
On Dangerous Ground (1952), directed by Nicholas Ray from a script he developed with A.I. Bezzerides and producer John Houseman, opens on the urgent yet fractured dramatic score by Bernard Herrmann, a theme that rushes forward anxiously, pauses with quieter instruments, then jumps again as we watch the nocturnal city streets in the rain through […]
The American Friend (Germany, 1977) – “What’s wrong with a cowboy in Hamburg?” Dennis Hopper’s Tom Ripley is nothing like the character that Patricia Highsmith created and explored in five novels, and while Wim Wender’s adaptation of Ripley’s Game, the sequel to The Talented Mr. Ripley, remains more or less faithful to the plot (with […]
Francis Ford Coppola described Rumble Fish (1983), his screen adaptation of S.E. Hinton’s young adult novel, as “an art film for teenagers.” He shot it right after making The Outsiders (1982), also adapted from a Hinton novel, but where that was a lush, operatic tale, Coppola made Rumble Fish in stylized black and white, like […]
“This boy… and this girl… were never properly introduced to the world we live in…,” begins They Live By Night (1948), a bubble of a brief, idealized vision of young love immediately swept away in the urgency and desperation of the prison break in the very next scene. The directorial debut of American filmmaker Nicholas […]
Gun Crazy (1950), the greatest of the criminal lovers-on-the-run thriller, explodes onto the screen in a fury of sex and guns and love and violence. Directed by Joseph H. Lewis, it is a masterpiece of style and a blast of cinematic ecstasy on a budget barely bigger than a B movie. John Dall is a […]
John Boorman had only one feature to his credit, the rock and roll lark Catch Us If You Can with the Dave Clark Five, when he came to Hollywood to direct the one-of-kind thriller Point Blank (1967). Boorman’s film, based on Richard Stark’s novel “The Hunter,” shuffles the story of a gunman named Walker (Lee […]
Is Mildred Pierce (1945) film noir or melodrama? I say why choose? Film noir is almost entirely associated with crime stories and life in the shadows and at night in the city and sure enough Mildred Pierce, based on the novel by James M. Cain, opens with death and darkness and the twilight of the […]
Day of the Outlaw (1959), a western set in a snowbound mountain town on the high frontier, is one of the toughest, most tension-filled pictures from Andre de Toth, a studio filmmaker who could be counted on to bring a savage edge to his assignments. The town is already coiled like a spring thanks to […]
