“I want to write The Maltese Falcon, record ‘Blue Suede Shoes’ and play Las Vegas.” So proclaims Eddie Ginley (Albert Finney), a small-time bingo caller and wannabe stand-up comic, to his therapist in the opening scene of Gumshoe (1971). But he’ll settle for running an ad in the local paper offering his services as a […]
Orson Welles’ baroque border town murder mystery Touch of Evil (1958/1998) is a wild masterpiece, a sleazy, grimy, jittery, and ultimately dazzling work of cinematic magic. It’s considered the last great film noir and the bookend to the true noir era. It was also Welles’s last attempt at a career in Hollywood before he packed […]
Carol Reed’s continental film noir The Third Man (1949), written by Graham Greene and starring Joseph Cotten as a cynical American pulp novelist playing detective in the rubble-strewn underworld of post-war Vienna and Orson Welles as a charming but ruthless black marketeer, is one of the true classics. The film is directed by Reed but […]
It may not have been obvious at the time but Riot in Cell Block 11 (1954) was a perfect match of film and filmmaker. Don Siegel later made a name for himself with his gritty Clint Eastwood collaborations (not to mention his brilliant Invasion of the Body Snatchers) but was just a promising journeyman director […]
The Asphalt Jungle (1950) (Criterion, Blu-ray, DVD) is one of John Huston’s rare forays into the genre that would later be called film noir. His first, The Maltese Falcon (1941), helped set the template of the PI noir. Ten years later, working from an adaptation of the caper novel by W.R. Burnett scripted in collaboration […]
Jean Gabin was a brooding, rough working class anti-hero in France when his role as cool master criminal Pépé le Moko (France, 1937) made him an international star. Set in the Casbah of French Morroco, a labyrinth of alleys and termite-hole dwellings in an underworld slum that creates its own bustling, self-contained society within Algiers, […]
Kansas City Confidential (1952), the first of three collaborations between Phil Karlson, a director who graduated from B-movies with a strong storytelling punch and a tough, two-fisted sensibility, and John Payne, a former light romantic lead and bland song-and-dance man of Fox musicals, was a career changer for both of them. Payne was already reinventing […]
Phil Karlson is, to my mind, to toughest of the film noir directors. Films like Kansas City Confidential and Phenix City Story give us heroes who get knocked around by life and come up for more. 99 River Street (1953), arguably Karlson’s greatest film and certainly his most beautifully brutal, is a film driven by […]
I’m a big fan of film noir, those shadowy, often hardboiled crime dramas a morally-tarnished urban world of the forties and fifties. Laura (1944) is elegance incarnate in a genre known for its hard edge, the sleekest, silkiest noir of all. Gene Tierney is the cultured beauty whose murder investigation opens the film and Dana […]
Joan Crawford took charge of her career as she aged out of the ingénue roles that propelled her to stardom, developing stories and pursuing properties that offered strong characters for a mature woman. She gave herself a second act when she fought hard for Mildred Pierce (1945) at Warner Bros. and seven years later, as […]
