It’s a venerable cliché, the idea of “one last big score.” The hero, reluctantly recognizing his glory days are behind him, deciding to make one last play for glory.
And so we find “Le Stephanois,” an aging gangster released from prison to a world that has passed him by. He has scores to settle, and dreams of a legendary haul. What if he could assemble a crack team of experts, and deploy them on a meticulously planned heist to rob a jewelry store? What could possibly go wrong? (As it turns out, quite a lot)
And behind the cameras, we find an echo and an inversion. Here is Jules Dassin, an American expatriate director on the run from the Blacklist, increasingly desperate to get back into movies. It’s been years, and the long arm of the Blacklist has been stretching across the Atlantic to frustrate his every move. An offer is given, but it’s a poor one—only a fool would take this assignment. But beggars can’t be choosers, and the desperate man will do almost anything. Somehow, improbably, he turns straw into gold. His film is more than good, it is influential, and with it he changes the rules for everyone.
This is Rififi.
There’s an old joke about a comedians’ convention. Comedians have come from around the world to gather in each others’ company, and they are such experienced veterans of the joke trade that instead of telling each other jokes, they just list them off by number. “7!” (polite applause); “122!” (respectful chuckles); and so on. Then one comic takes the mic and boldly declares “516!” and the house erupts in laughter. A journalist covering the event asked the comedian why that last one got such an outsized reaction. “Oh, they hadn’t heard that one before,” he replied.
I started obsessively watching movies because I fell in love with their magic. I fear turning into one of those jaded convention goers, content with hearing familiar numbers read aloud, and only occasionally surprised by the unfamiliar. But it happens—I’ve seen so many movies, their tricks do become routine, their contours become as familiar as old socks. I grow cynical and jaded. And then out of nowhere, when I least expect it, someone throws me a 516 and I have to boggle at the surprise.
I submit to you: Anthony Mann’s Border Incident. It is very nearly 70 years old, but it feels fresh and relevant. It is hard to classify (we’ll go with “film noir” for the lack of anything better). It is a taut B&W thriller from 1949, made on a stingy budget, and largely forgotten today. But this is one to seek out and treasure, and it is full of surprises.
Posted by Susan Doll on June 6, 2016
If you like your noir lean and mean, catch The Big Combo on TCM this Thursday, June 9. The minimalist plot pits volatile police detective Leonard Diamond, played by Cornel Wilde, against a morally bankrupt racketeer known as Mr. Brown, played by a cold-hearted Richard Conte. Not surprisingly, the two have a corrosive history, and their long-standing animosity revolves around their interest in the same girl, Susan, played by Wilde’s real-life wife, Jean Wallace. Detective Diamond is as agitated and twitchy as Mr. Brown is cool and collected, their contrasting demeanors underscoring their positions on the opposite side of the law.
Posted by R. Emmet Sweeney on May 10, 2016
After viewing Too Late For Tears (1949), I would advise all couples against accepting cash-stuffed valises of mysterious origin. Sure, it would be nice to be raised up out of your dead-end middle-class marriage, but there is the whole issue of the money’s origin, and the pile-up of bodies that keeping the cash may entail. Too Late For Tears is a vicious little film noir with a flinty, sociopathic performance by Lizabeth Scott, but it had been in public domain purgatory for decades, circulating in muddy transfers under its re-release title Killer Bait. The Film Noir Foundation has lobbied for its restoration for years, and with the help of a Hollywood Foreign Press grant, the UCLA Film and Television Archive was able to reconstruct the film from a 35mm nitrate French dupe negative, a 35mm acetate re-issue print, and a 16mm acetate. The result can be seen in a superb new Blu-ray from Flicker Alley, complete with Alan K. Rode audio commentary and a highly informative essay by Brian Light. [...MORE]
Posted by Susan Doll on February 15, 2016
TCM in conjunction with Fathom Entertainment celebrates the 75th anniversary of The Maltese Falcon on February 21 and February 24, exhibiting the film at participating theaters. John Huston’s masterpiece, which shows at 2:00pm and 7:00pm on both days, will be introduced by Ben Mankiewicz in a brief filmed commentary. Check the Fathom website for more details.
Last fall, I showed The Maltese Falcon as part of a course on film noir. Though it is considered one of the earliest examples of noir, and therefore important as a foundation, I struggled with whether to show a film I had seen so many times. I thought of showing the less-familiar Stranger on the Third Floor, because it would be more interesting to me. But, I knew that the majority of the students had not seen The Maltese Falcon. As I began to pull together the course material, I grew more excited at the implications of introducing them to such an iconic film. This was their introduction not only to The Maltese Falcon but also the genre of film noir. They would be seeing it with the freshness and excitement of first-time viewers, and I had a part to play in that.
Film noir developed in the studio system during the Golden Age, and yet it defied many of the norms and conventions of that era. It was the genre that broke the rules—a big deal considering how entrenched certain norms, conventions, and formulas were during the Golden Age. For young people unfamiliar with the systems and practices of the studio system, noir’s defiance of those systems and practices would not be readily apparent.
Posted by R. Emmet Sweeney on December 29, 2015
Affair in Trinidad (1952) marked Rita Hayworth’s return to the screen after a three-year absence. She had been suspended by Columbia Pictures following her marriage to Iraqi prince Aly Khan and relocation to Europe, which violated her seven-year contract. Her reunion with Columbia was an uneasy one, and Affair in Trinidad was made with a half-finished script and a truculent star. The resulting film was widely regarded as a sloppy rehash of Gilda, but it was a hit at the box office anyway, as audiences were still devoted to their “Love Goddess” Hayworth. Director Vincent Sherman performed an admirable reclamation job on the nonsensical script, but the artistic successes lie elsewhere on the billing block. The film has two superb dance sequences choreographed by Valerie Bettis, who worked closely with Hayworth, and DP Joseph Walker (in his final film) conjures illicit atmospheres through his inky B&W cinematography. The film recently aired on TCM, and is available on DVD from the Sony Pictures Choice Collection.
Posted by Kimberly Lindbergs on December 10, 2015
Senkichi Taniguchi’s Show Trail aka Ginrei no hate (1947) begins with a bang. A montage of shadowy figures and fragmented images bombards viewers during the film’s opening credits while guns fire, alarms ring, windows break, trains whistle and sirens scream. We soon discover that three desperate men (Toshiro Mifune, Takashi Shimura and Yoshio Kosugi) have just robbed a bank and in a bold attempt to dodge authorities they make a dangerous trip to Northern Japan where they hope to lose their pursuers in the snow covered Alps. None of the men are prepared for the hard climb ahead of them and they sorely lack the survival skills needed to endure a harsh winter outdoors. When they’re forced to seek shelter at isolated ski lodges and in abandoned ranger stations, it only complicates their dire situation. As the stress of their predicament begins to overwhelm them, tensions grow and soon the three outlaws are bickering among themselves. Their shaky solidarity gives way to fear, distrust and unrepentant greed but one man will eventually find bitter redemption amidst the demanding mountains.
It’s not uncommon for well-established movie directors to return to the scene of the crime, as it were, and revisit old successes. The defining masterpieces of brash young artists get remixed by older artists with a new perspective: Fritz Lang’s M and While the City Sleeps, Jean Renoir’s The Grand Illusion and The Elusive Corporal, Howard Hawks’ Rio Bravo and Rio Lobo… and then there’s Orson Welles’ Citizen Kane and Mr. Arkadin.
Both films begin with the death of a Great Man, and ruminate through intersecting circles of flashbacks as an investigator attempts to retroactively recreate that life and understand the man behind the legend. One was a blockbuster triumph that changed movies forever and remains hailed as one of, if not the, greatest films in Hollywood history. The other was a slapdash independent concoction brewed up far from Hollywood’s industrial organization and distributed in a scattershot way as if marketed by ADHD-addled amnesiacs.
Guess which one I prefer :)
Posted by Kimberly Lindbergs on October 8, 2015
You can’t go wrong with any of these fine thrillers but today I’d like to single out Cast a Dark Shadow, a gripping and remarkably grim British production starring Dirk Bogarde as a suave young Romeo who seduces wealthy older women for financial gain and then murders them in cold blood. Clocking in at a brisk 82 minutes and featuring some stellar talent behind and in front of the camera, Cast a Dark Shadow presents an interesting early example of a seductive and unscrupulous serial killer who will stop at nothing to satisfy his basest urges.
Posted by Kimberly Lindbergs on July 23, 2015
TCM’s Summer of Darkness is almost over but before Friday night’s Film Noir programming comes to an end I decided to contact artist and designer, Michael Kronenberg and chat with him about his work with TCM guest host Eddie Muller and the Film Noir Foundation. I’ve admired Kronenberg’s work for a longtime so it was nice to be able to learn more about the man and his creative influences. If you like film noir, pulp fiction, comic books and great art, you should enjoy our timely back-and-forth.
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