Cities Have Lost Their Poetry

Thirty years ago in my late 20s on many lonely cold winter nights I walked the desolate streets of the city fringe… down narrow sparsely-lit alleys

Noir City: Sydney Harbour 1950s - Original photo by Max Dupane

Thirty years ago in my late 20s on many lonely cold winter nights I walked the desolate streets of the city fringe. Down narrow sparsely-lit alleys with dark dirty store-fronts, ominous warehouses, and desperate characters.  A salty dampness and the silhouettes of sea-faring hulks on Sydney harbor drawing me into an enveloping angst.  There was mystery, an aching feeling of some unfathomable loss, of poetry.

Today those streets are bright, lined with trendy restaurants, exclusive warehouse conversions, soul-less showrooms for funky furniture, and expensive cars.  No mystery, no angst, and no poetry.

 

Noir Nation: International journal of crime fiction

The people behind the Noir Nation project have produced two excellent promotional videos which augur well for the quality of the publication…

I came across the Noir Nation project on KicketStarter.com this evening.   The people behind the project are seeking pledges for a new eJournal of crime fiction offering high quality prose fiction, non-fiction, graphic novels, and visual arts.

The people behind the project have produced two excellent promotional videos which augur well for the quality of the publication. But their funding deadline of July 6 looms and pledges are nowhere near the target of US$10,000.  Any venture capitalists with big bucks should check out the site.

 

Garfield Noir The Breaking Point (1950) Out on DVD

The Warner Archive has released on DVD for the first time a film adaptation of the Ernest Hemingway novel, The Breaking Point (1950)

The Warner Archive has released on DVD for the first time a film adaptation of  the Ernest Hemingway novel, The Breaking Point (1950), a great John Garfield noir directed by Michael Curtiz, and to my mind infinitely superior to  Howard Kawk’s over-rated adaptation To Have and Have Not (1944).

Cinematic Cities: Mexico City Noir 1949

Salón México (1949) Nylons, high heels, and dark alleys… Director – Emilio Fernández | Cinematography – Gabriel Figueroa

Salón México (1949)
Nylons, high heels, and dark alleys…
Director – Emilio Fernández  |  Cinematography – Gabriel Figueroa

 

Get Angry: “I was fed up I guess”

Most film noir protagonists are driven by anger. Anger grown of frustration and resentment at a society that excludes them from comfort and a decent life…

Caged (1950)

Most film noir protagonists are driven by anger. Anger grown of frustration and resentment at a society that excludes them from comfort and a decent life. Some are simply lazy and greedy and see crime as a fast lane to riches, many are driven by poverty and degradation to crime, also as a kind of revenge against ‘those’ who have taken everything and left nothing, and all share the widely held delusion that money buys happiness.

In the female prison noir, Caged (1950), a powerful critique of a society that breeds such anger, a young woman is jailed after she is an unwitting accomplice in a gas-station robbery with her husband, who is killed during the heist. The sheltered girl on admittance to a women’s prison discovers she is pregnant, but her condition does not protect her from the humiliation and brutalisation of prison life. Melodramatic but with a strong social conscience that targets corrupt authorities, the movie is downbeat and pessimistic. By the end of the film, the girl is hard-bitten beyond her years and ready to hit the streets as a prostitute, after her recruitment by a glamorous older inmate, who manages to run her racket from inside the prison. The prison warden tries hard to help such girls but money is in short supply and the politicians aren’t interested. The girl’s decision to go bad is triggered by the resentment that erupts when from her cell she is confronted with the site of a gaggle of socialites dressed to the nines in a philanthropic tour of the prison. We appreciate her anger and resentment as an understandable response to her treatment by ‘the system’.

Hollywood doesn’t make movies likes that anymore thanks to the HUAC purges of the 1950s and the comfortable cowardice of contemporary film-makers.

I get angry at injustice and inequality, very angry. What intrigues me is why Americans don’t get angry at the injustice and inequality in their midst. For the record I am not American nor do I live in America, and for many Americans that disqualifies me from having a view, but I don’t care. If you personally have a problem with this, write to your member of Congress.

A sobering article was published today by my local newspaper.

  • A taxation system emaciated by political opportunism has left the US with tax rates so low as to undermine the work of government, strangling revenue and magnifying inequality. Each year, the IRS constructs figures for the top 400 income earners in the country. In 2008, when the great recession was biting hardest, the top 400 earned on average $US270.5 million each – 20 times what they made in 1955 (which was $US13.3 million, in 2008 dollars). The mind-blowing reality beyond that growth is that the 400 highest-earning Americans in 1955, after exploiting all possible deductions, paid 51.2 per cent of their total earnings in federal income tax. Fifty years later, in 2008, the top 400 paid just 18.1 per cent in tax. So pronounced is the disparity that the top 1 per cent of American taxpayers now takes almost a quarter of all income – double their share of 25 years ago. And they control about 40 per cent of America’s wealth, compared to 33 per cent then.
  • In the days of the postwar president Dwight Eisenhower, America’s top income tax bracket hovered around 90 per cent. It was eased to 70 per cent in the mid-1960s and remained there until the advent of ”Reaganomics” when the top marginal tax rate was slashed to 50 per cent, then to 28 per cent. Reagan’s successors – George Bush snr and Bill Clinton – pushed the rates back up, citing fiscal necessity, but George W. Bush cut again, lowering the top marginal rate to 35 per cent, while reducing the tax on capital gains to 15 per cent for assets held for more than a year, accelerating the accumulation of wealth at the summit, because the rich, increasingly, were deriving their income from capital gains – by trading shares, bonds and other assets.

Get angry America!

The appalling legacy of greed…

Film Noir: Cinema as Mourning

Office memorandum, Walter Neff to Barton Keyes, Claims Manager. Los Angeles, July 16th, 1938. Dear Keyes: I suppose you’ll call this a confession when you hear it. I don’t like the word confession…

Double Indemnity (1944)

Office memorandum, Walter Neff to Barton Keyes, Claims Manager. Los Angeles, July 16th, 1938. Dear Keyes: I suppose you’ll call this a confession when you hear it. I don’t like the word confession…  When it came to picking the killer, you picked the wrong guy, if you know what I mean. Want to know who killed Dietrichson? Hold tight to that cheap cigar of yours, Keyes. I killed Dietrichson. Me, Walter Neff, insurance agent, 35 years old, unmarried, no visible scars – until a little while ago, that is. Yes, I killed him. I killed him for money – and a woman – and I didn’t get the money and I didn’t get the woman. Pretty, isn’t it?

I am currently reading a book on French cinema by American academic T. Jefferson Kline titled Unravelling French Cinema (John Wiley & Sons 2010).  As the title indicates, Kline by examining French films from the early 1930s to the present day explores the nature of French cinema.  His guiding thesis is that French films are more concerned with the nature of cinema than with narrative for its own sake.  It is a complex analysis and the author’s scholarly approach makes the book daunting reading.

Kline initiates an intriguing discussion of cinema as a process of mourning, which goes not only to the examination of certain films but to the very nature of cinema.   He focuses on art-house films and strangely mentions French poetic realism only as an aside.  The great poetic realist films of the 1930s are not discussed, nor the French noirs of the 1940s and 1950s.  The fatalism of these films to me seems germane to any discussion of cinema as mourning, and to an understanding of film noir.

Let us take these word’s from Kline’s book:  “We can think of many films that move us precisely because the main character must die, and so we mourn… we must realize that cinema in its most essential form is an image of something that is no longer there.  Like a cherished photograph, we can look at it over and over again, but we can never make its subjects return to the physical form they enjoyed when the film was made.” (p. 334)

This is the very nature of the fatalism inherent in poetic realism and in film noir: a doomed protagonist battling the fates.   The very use of flashback in many noirs reinforces this fatalism – the fate of the protagonist is known from the outset.  Billy Wilder’s Double Indemnity (1944) and Robert Siodmak’s The Killers (1946) are the definitive flashback noirs.

Something to think about.


The Killers (1946)

He Ran All the Way (1951): “To be left alone”

He Ran All the Way, John Garfield’s last picture, was made under the oppressive shadow of HUAC. Soon after its release Garfield was dead from heart failure.

He Ran All the Way, John Garfield’s last picture, was made under the oppressive shadow of HUAC.  Soon after its release Garfield was dead from heart failure.  Dalton Trumbo wrote the script (under an alias), John Berry directed, James Wong Howe lensed, and Franz Waxman penned a dramatic score.  This team, along with a strong supporting cast deliver a solid picture.  It has flaws – a tendency to melodrama and plot contrivances – but it delivers a strong noir punch.

Garfield is a nervous small-time loser who kills a cop during a payroll heist and holes up an innocent family in their apartment as he desperately seeks to evade capture.  The guy is screwed-up big-time but underneath it all has some desire for connectedness.  He is brutal but gentle, ruthless yet hesitant, hateful while desperate for love.  Garfield’s portrayal is pitch-perfect and a worthy epitaph.  Shelley Winters in an early role as a young innocent does really well in a difficult role.

Strange that I have yet to read a serious review of the film.  NoirofTheWeek.com provides a signature belabored outline of the plot and little else. Bosley Crowther in the NY Times on the movie’s release couldn’t see the forest for the trees in a petulant dismissal resting on alleged weak characterisations.  Glen Kenny on TheAutuers.com treats the film as an opportunity  for self-satisfied satire.

Those bloodhounds at HUAC would have had you believe this scene from the picture is ‘commie’ propaganda:

Sunday morning in the hostage family’s kitchen. Garfield is drinking coffee while the father (Wallace Ford) works on a model boat.   Garfield has just turned off the radio after a church sermon is announced.

JG:  What that church stuff do for ya anyway, what’s it get ya?

WF: Well… for one thing it makes a man understand the nature of love.

JG : Yeah?

WF: Yeah… The faith that there’s someone more important than yourself, that your family’s more important than both of you, and that every other human’s a member of your family…

JG: What’s a holy joe like you get outta life?  What ya want outta life?

WF: To be left alone, to work, to be left alone.

To be left alone.  But life won’t leave us alone.  This is what noir is all about.

 

Métropolitain (France 1939): Red Hot Poster

A hot poster from France for an early and earthy French noir starring the gorgeous Ginette LeClerc as a cabaret dancer…

A hot poster from France for an early and earthy French noir:

Noir Digest: Bad Girls Behind Locked Doors

They stopped making noir movies over 60 years ago, but the books on film noir keep on coming… and capsule reviews of four classic noirs

Budd Bottiecher's Behind Locked Doors (1948)

Books

They stopped making noir movies over 60 years ago, but the books on film noir keep on coming.  A slew of new titles will be published before year’s end:

Gloria Grahame, Bad Girl of Film Noir:  The Complete Career
Robert J. Lentz
Binding: Paperback
Release Date: July 5th, 2011

In Lonely Places: Film Noir Beyond the City
Imogen Sara Smith
Binding: Paperback
Release Date: July 5th, 2011

The Maltese Touch of Evil: Film Noir and Potential Criticism (Interfaces: Studies in Visual Culture)
Richard L. Edwards & Shannon Clute
Binding: Paperback
Release Date: December 13th, 2011

What Is Film Noir?
William Park
Binding: Hardcover
Release Date: September 16th, 2011

Movies

Noirs I have recently watched – those marked with an * be added to my list of essential noirs (!):

Des gens sans importance (People of No Importance – France 1956)
French fatalism meets neo-realism in a tragic story of working-class life.  A long-haul trucker falls for an aimless young waitress from a road-side café.  Great acting from Jean Gabin and the earthy Françoise Arnoul.  4½ stars


Senza pietà (Without Pity – Italy 1948) *
Black GI and a local girl on the skids in a doomed love triangle cannot escape tragic entrapment. Compelling neo-realist melodrama with a decidedly noir denouement.  4½ stars


Riso Amaro (Bitter Rice – Italy 1949)
Classic neo-realist socialist melodrama.  Homme-fatale destroys a passionate innocent.  A bad girl is redeemed and homme-fatale meets a gruesome noir end in an abattoir. 5 stars


Guele d’Amour (Ladykiller – France 1937) *
A fatalistic tale of amour-fou fuelled by a callous femme-fatale.  Hunk Jean Gabin and the luminous Mireille Balin star.  Looks decades ahead its time. 4½ stars


Klute (1971) *
Alan J. Pakula’s signature reworking of classic noir motifs in a masterly study of urban paranoia and alienation.  Jane Fonda earned an Oscar for her brilliant portrayal of articulate b-girl the target of mystery psychopath.  5 stars


Behind Locked Doors (1948)
An entertaining Bud Bottiecher b-movie.  PI Richard Carlson enters a sanatorium undercover to flush out a crook.  A feast of metaphors for Bottiecher aficionados and good entertainment for the rest of us.  Moody lensing from Guy Roe (Railroaded!, Trapped Armored Car Robbery, The Sound of Fury).  3½ stars


Best Film Noir Movies: The Runners-Up

These are the runners-up to my listing of the best (5-star) films noirs. The combined list appears here as Essential Films Noir. The ‘almosts’ are 147 noir movies I rate as 4 or 4.5 stars…

These are the runners-up to my listing of the best (5-star) films noirs.  The combined list appears here as Essential Films Noir.

The ‘almosts’ are 147 noir movies I rate as 4 or 4.5 stars.   As with the all-time best noirs list, the films are listed by year of production and are not ranked.

4/4.5 star Noirs

Titles with an  * are reviewed on FilmsNoir.Net – list of reviews here. All movies have a snap review.

*La Chienne 1931 France
*Fury 1936 US
*Guele d’Amour (aka Ladykiller) 1937 France
*Pépé le Moko 1937 France
*La Bête Humaine 1938 France
La Jour se Lève 1939 France
*Macao,L’enfer Du Jeu (aka ‘Gambling Hell’) 1939 France
*Stranger on the 3rd Floor 1940 US
*Blues in the Night 1941 US
*High Sierra 1941 US
*The Face Behind the Mask 1941 US
*Ossessione 1942 Italy
*This Gun For Hire 1942 US
*The Fallen Sparrow 1943 US
*The Ghost Ship 1943 US
*Betrayed (aka ‘When Strangers Marry’) 1944 US
*Moontide 1944 US
*Phantom Lady 1944 US
*The Mask of Dimitrios 1944 US
*The Woman in the Window 1944 US
*Cornered 1945 US
*Detour 1945 US
*Fallen Angel 1945 US
*Leave Her to Heaven 1945 US
*My Name Is Julia Ross 1945 US
*Black Angel 1946 US
*Deadline at Dawn 1946 US
*Decoy 1946 US
*Gilda 1946 US
*High Wall 1946 US
*Night Editor 1946 US
*Panique 1946 France
Suspense 1946 US
*The Blue Dahlia 1946 US
*The Chase 1946 US
*The Dark Corner 1946 US
*The Dark Mirror 1946 US
*The Locket 1946 US
*The Strange Love of Martha Ivers 1946 US
*The Stranger 1946 US
*Born to Kill 1947 US
Brute Force 1947 US
*Crossfire 1947 US
*Dead Reckoning 1947 US
*Desperate 1947 US
*Kiss of Death 1947 US
*Odd Man Out 1947 UJ
*Railroaded 1947 US
*The Devil Thumbs A Ride 1947 US
*The Long Night 1947 US
*The Unsuspected 1947 US
*The Woman On the Beach 1947 US
*They Made Me a Fugitive 1947 UK
*They Won’t Believe Me 1947 US
*lood on the Moon 1948 US
*Call Northside 777 1948 US
Cry of the City 1948 US
*I Love Trouble 1948 US
*I Walk Alone 1948 US
*Key Largo 1948 US
*Kiss the Blood Off My Hands 1948 US
*Moonrise 1948 US
*Night Has a Thousand Eyes 1948 US
*Pitfall 1948 US
*Road House 1948 US
*Ruthless 1948 US
*Secret Beyond the Door 1948 US
*Senza pietà (Aka Without Pity) 1948 Italy
*The Amazing Mr. X 1948 US
*The Big Clock 1948 US
*The Iron Curtain 1948 US
*The Naked City 1948 US
*A Woman’s Secret 1949 US
*Alias Nick Beal 1949 US
*Caught 1949 US
*Follow Me Quietly 1949 US
*I Married a Communist 1949 US
*The Big Steal 1949 US
*The Bribe 1949 US
*The Clay Pigeon 1949 US
*The Man Who Cheated Himself 1949 US
*The Window 1949 US
*Whirlpool 1949 US
*Armored Car Robbery 1950 US
*Gambling House 1950 US
*Gun Crazy 1950 US
*Manèges 1950 France
*No Way Out 1950 US
*Panic In the Streets 1950 US
*Side Street 1950 US
*Tension 1950 US
*The File On Thelma Jordan 1950 US
*The Killer That Stalked New York 1950 US
*The Second Woman 1950 US
*The Tattooed Stranger 1950 US
*Union Station 1950 US
*Walk Softly, Stranger 1950 US
*Where Danger Lives 1950 US
*Where the Sidewalk Ends 1950 US
*Woman on the Run 1950 US
*Young Man with a Horn 1950 US
*Detective Story 1951 US
*His Kind of Woman 1951 US
*I Can Get It for You Wholesale 1951 US
*I was a Communist for the FBI 1951 US
*Roadblock 1951 US
*The Big Night 1951 US
*The Well 1951 US
*Tomorrow Is Another Day 1951 US
*Angel Face 1952 US
*Kansas City Confidential 1952 US
*Scandal Sheet 1952 US
*The Narrow Margin 1952 US
*The Sniper 1952 US
*99 River Street 1953 US
*Pickup On South Street 1953 US
Split Second 1953 US
*The Blue Gardenia 1953 US
*The Glass Wall 1953 US
*The Hitch-Hiker 1953 US
*Human Desire 1954 US
*Pushover 1954 US
*The Good Die Young 1954 UK
Touchez pas au Grisbi 1954 France
*Witness to Murder 1954 US
*World For Ransom 1954 US
*Bob le Flambeur 1955 France
*The Phenix City Story 1955 US
*Patterns 1956 US
*People of No Importance (aka ‘Gens san Importance’) 1956 France
The Wrong Man 1956 US
*The Killing 1956 US
*Voici le temps des assassin (aka ‘Deadlier Than the Male’) 1956 France
*While the City Sleeps 1956 US
*Elevator to the Gallows 1958 France
*Endless Desire 1958 Japan
*Tread Softly Stranger 1958 UK
Underworld Beauty (aka ‘Ankokugai no bijo’) 1958 Japan
*Odds Against Tomorrow 1959 US
*The Crimson Kimono 1959 US
*The Bad Sleep Well (aka ‘Warui yatsu hodo yoku nemuru’) 1960 Japan
Shoot the Piano Player 1960 France
Blast of Silence 1961 US
*Le Doulos 1962 France
*High and Low (aka Tengoku to jigok) 1963 Japan
*The Naked Kiss 1964 US