|Vintage Pulp||Jan 21 2017|
Four robbers knock off a bank in Kansas City with plans to split the money after the heat has cooled. The mastermind behind the job has arranged it so the crooks don't meet before the job, and wear masks during it, thus can't possibly identify each other. But each man has an ace, torn in half to create a unique mate, to match with the second half and confirm his identity when the time comes. It all sounds clever and foolproof, except the mastermind has framed someone for the robbery to throw police off their trail, and when this man is arrested but turned loose from police custody due to lack of evidence, he decides to track down the men who set him up.
There are more twists, including a star-crossed romance with Coleen Gray, but we'll stop there. This is a nice, multi-layered film noir, with good performances all around. Considering the risk Payne has to take we aren't sure we fully buy his motivation, but once he's made the decision there's no easy way out, and it's fun to watch him threaten and beat his way up the chain to the top guy. Coleen Gray always adds a nice element to any movie she's in, and Lee Van Cleef is good in a tough guy role. The only serious blemish here may be the silly final minute, but you shouldn't let it ruin the film for you. We recommend giving this one a whirl.
|Vintage Pulp||Jan 21 2017|
In Violent Saturday, a group of people are loosely connected to a smalltown bank that has been targeted by a trio of robbers. Yes, it's a heist double feature at the Noir City Film Festival. We meet the big shot at a local mine who is one of the bank's most important customers. We meet his cheating wife, who's having an affair with a bank employee. We're introduced to a group of Amish who have no idea their nearby community has been chosen as a rendezvous point. We get to know the bank manager—and the woman whose window he peeps through at night. As you might guess from our rundown, the examination of all these characters and their situations is detailed. In fact, it lasts two thirds of the film.
When the bank is finally robbed, some of these people will find themselves in the wrong place at the wrong time as the criminals' careful plan degenerates into a kill-or-be-killed fiasco. Lethal results are coming but we have no idea who will survive. Everyone is flawed, everyone has hope for a good future, but not all of them will get to see it. Violent Saturday is a DeLuxe color production rather than a standard black and white film noir. Set in Arizona, it was dubbed "southwestern noir" by the Village Voice, but really it's just a tidy little thriller—with an untidy little finish. We think it fits nicely on the Noir City slate.
|Intl. Notebook||Jan 20 2017|
Once again the Noir City Film Festival gears up in our former home turf of San Francisco, and once again the event provides a perfect excuse for us to watch a few of the films. Noir City, now in its fifteenth year, is one of the most established film noir festivals in the U.S., along with those in Los Angeles and Palm Springs. However, the San Fran version sets itself apart with great promo posters like the one you see above, and others you can see from previous fests here.
This year's slate features twenty-four noir and crime thrillers, including entries from Japan, England, France, and Italy. We'll keep our musings on these films brief as always, because yet more extravagantly written amateur movie reviews are not needed online. For those in the Bay Area, we recommend taking advantage of the opportunity to see these classic movies as they were intended to be shown—on a big screen in a packed house.
|Vintage Pulp||Jan 20 2017|
This year's Noir City Film Festival opens with the 1949 heist drama Criss Cross. Based on a bestselling novel of the same name by Don Tracy, it's the story of man played by Burt Lancaster who returns to Los Angeles after some years away to find that his ex-wife Yvonne De Carlo has hooked up with a local gangster. The exes rekindle their flame, but when it looks as if the gangster has caught them in the act Lancaster spontaneously cooks up a story about how he was putting together a plan to rob the armored car service for which he works.
Lancaster's robbery idea is not only designed to deflect the gangster's suspicion away from the affair, but to also fund the future he envisions with De Carlo when she and him run away. This scheme, which strains credulity, is probably one of the most obviously terrible ideas in the long, celebrated history of doomed ideas in film noir, but with good direction by Robert Siodmak, who had worked with Lancaster on The Killers, and good acting by all involved, the film concludes on the positive side of the effectiveness ledger. Numerous excellent Los Angeles exteriors, including at Union Station and on now mostly leveled Bunker Hill, make this noir an important time capsule as well, an aspect that increases its appeal. And an excellent musical number by Esy Morales & His Rhumba Band gives the proceedings a further boost. All in all, Criss Cross is a winner.
|Vintage Pulp||Jan 20 2017|
The best poster for the movie The Asphalt Jungle was, beyond doubt, the one we showed you a while back painted by the Italian artist Angelo Cesselon. But that one came a bit later. The above poster was made for the film's initial release in 1950. We think it's very nice as well, if remarkably different from Cesselon's masterpiece. As for the movie, we could tell you it's a top effort, but you already know that. If you haven't seen it, definitely do. It's showing at the Noir City Film Festival tonight, but even at home it's worth a screening.
|Vintage Pulp||Jan 19 2017|
3 Doors to Death is a collection of Nero Wolfe mystery novellas by Rex Stout, published by the Viking Press in 1950, with this Dell paperback appearing in 1952. The stories are “Man Alive,” “Omit Flowers,” and “Door to Death,” and as the cover states, these all star Stout's famed detective Nero Wolfe, who was created back in 1935, and since has been adapted to stage, film, radio, and television. His assistant Archie Goodwin is on hand to assist in each of the tales. The art on this paperback was painted by Rafael DeSoto, who we've featured before, like here and here. And we should mention we found this cover at Noah Stewart's book blog. We recommend a visit there for more interesting covers.
|Mondo Bizarro||Jan 19 2017|
|Vintage Pulp||Jan 18 2017|
Actually, this book has nothing to do with cousins, but the art spoke to us that way. Guess we've read too many Midwood sleaze novels. Ace Books is generally a bit more highbrow. The main character in 1957's Desire in the Ozarks is Shoog Dawkins, a happy-go-lucky hillbilly stereotype who, after some years of matrimony to his sweetheart Docey and the birth of a son, has his head turned by a girl named Genevy Trone. He's constitutionally unable to resist the basic pleasures of life, so trouble soon results. This was marketed as an authentic slice of rural life in the vein of Erskine Caldwell—unsuccessfully it seems, because though Steger authored numerous short stories, this seems to have been his/her only novel. Turning to the art, it's uncredited. We did a little digging and found that the original painting for this recently went up for auction and the sellers confirmed that it's unsigned. We figure if they can't identify the artist, nobody can, so this one will likely remain unattributed.
|Vintage Pulp||Jan 18 2017|
We already covered the Swedish sexploitation flick Flossie back in December and paired the write-up with a West German promo poster. Above you see an exceedingly rare Japanese promo for the same film, with young star Marie Forså giving us various O-faces, as well as reclining nude in the center. Pretty sure this one hasn't been seen online before. Flossie opened in Japan today in 1975. You can see the other poster here.
|Femmes Fatales||Jan 18 2017|
American actress Virginia Leith had a perfectly respectable show business career, appearing in the thriller Violent Saturday and on hit television shows such as Baretta and Barnaby Jones, but what she'll always be remembered for is her turn as a decapitated head in the 1962 schlock sci-fi flick The Brain that Wouldn't Die. Have you seen that one? You really should check it out. It's a hoot. In the film Leith is beheaded in a car accident and her scientist fiancée just can't let go. Well, looking at the rest of Leith at top, now we see why. We don't have a date on the photo, but we're guessing it's from around 1955.