|Vintage Pulp||Jan 31 2016|
The Noir City Film Festival ends tonight with a pairing of Peeping Tom with the Michelangelo Antonioni classic Blow-Up, which means here at Pulp Intl. we’ll close the book on the fest and move back into the more diverse subject matter that usually makes up our website. We wanted to use Noir City as an excuse to delve into the film noir catalog and we managed to watch sixteen of the twenty-five films on the schedule—some for the second or third time—and write about twelve of them. This all made for a quite enjoyable week, with much wine drunk and popcorn noshed (we have a Whirley popcorn maker we had sent over from the States that does a bang-up job), but it was also a bit of work. At this point we doubt we’ll go through all the considerable effort of screening next year’s Noir City slate, but you never know. Next January is a long, long way off—or at least, it should seem that way if you’re living life the way you should. We shall see.
|Vintage Pulp||Jan 27 2016|
The Noir City Film Festival continues its challenging 2016 slate when it screens another pair of classics tonight—Love Me or Leave Me and Young Man with a Horn. Both are musical dramas, and though neither is a noir, both take viewers to dark places. In the 1920s period piece Love Me or Leave Me velvety-voiced Doris Day stars as a struggling chanteuse given a break by gangster James Cagney. He quickly becomes her manager and uses force to launch a national career, blind to the fact that she has real talent and can succeed with no strongarm man to back her. But Cagney doesn't see her talent—show business is gangsterism for him, and bullying is how he operates. When he finally bullies his way into marriage with Day his constant rage transforms her into an indifferent and isolated woman.
Perhaps by now you’ve noticed the theme that has emerged with this year’s Noir City offerings—they are all about artists or their artistic output. In Rear Window and The Public Eye it’s photographers, in The Two Mrs. Carrolls it’s a painter, In a Lonely Place and The Bitter Stems deal with a screenwriter and journalist, Deception and Humroresque look at classical musicians, and The Dark Corner and Crack Up deal with art ascommerce and contraband respectively. The theme is nice, but once again two films will be screening tonight that present yet another challenge to noir purists attending this year’s fest. Both films are great, but we’ll be surprised if organizers stray this far from the form next year.
|Intl. Notebook||Jan 22 2016|
San Francisco's Noir City Film Festival remains one of the best of its type in the U.S. Its fourteenth incarnation kicks off today in San Fran with Rear Window and The Public Eye. The first isn't a noir, but fits comfortably on the festival program; the second is a sort of noir, though a newer one, and is an inspired choice, in our opinion. We just wonder whether people who pay for two films noir will be happy with those two selections on opening night. In any case, we take a peek at both films below. Other offerings this year include the Bogart vehicles The Two Mrs. Carrolls and In a Lonely Place, Screaming Mimi, Corridor of Mirrors, The Dark Corner plus more than twenty other titles, and we'll be taking a look at some of these films throughout the next week.
|Intl. Notebook||Jan 16 2015|
Today, once again, the U.S.’s premier film noir festival begins in San Francisco. Well, we aren’t impartial—we used to live in Berkeley, just across the Bay, and San Fran was our nocturnal playground—but we think the Noir City Film Festival is the best, that its locale the Castro Theatre is awesome, and that San Francisco, with its iconic hills, clanking cable cars, and rogue fogs, is the also the best possible host city. This year the art produced for the festival in its thirteenth year references worn pulp paperbacks, which we can appreciate, and we also love the festival line-up.
The extravaganza opens with Woman on the Run, a film we discussed recently. Apparently the last known print burned in a fire, and this year’s showing represents the culmination of years of restoration work. Since the film was in the public domain, we imagine some secondary sources existed and needed to be tracked down and cobbled together. Other classics to be screened include Clash By Night, The Thin Man, Shockproof, Cry Terror!, and twenty others. Hopefully a few of our Bay Area friends will attend the festival and report back. And to Pulp Intl. readers in that part of the world, this is your official reminder—any chance to see film noir on a big screen is an opportunity not to be wasted.
|Intl. Notebook||Jan 24 2014|
|Vintage Pulp||Jan 30 2013|
A few days ago we mentioned the Noir City Film Festival and waxed nostalgic about San Francisco. The festival schedule reminded us of noirs we haven’t seen in a while, and revealed others we’ve never seen. On the Noir City bill this evening is a film from the latter category, Edward Dmytryk’s 1952 thriller The Sniper. We watched it last night and it more than deserves a slot in a prestigious festival like Noir City. The film was shot in San Francisco, and stars Arthur Franz as a former mental patient named Eddie Miller who is gripped by murderous impulses. Perching in windows and on rooftops, he uses a carbine and scope to target unsuspecting victims. As yet the gun isn’t loaded, but his sexual feelings for a female acquaintance catalyze his urges. The expert marksman begins killing, ultimately slaying four women (that’s not a spoiler, given the four scoped targets on the poster art). Eddie Miller treads similar ground as hundreds of other cinematic lost souls, but film historians say he was first—American film’s first serial killer. This one is worth it both for the movie and for its usage of San Francisco exteriors, which are so expertly and extensively intergrated into the production, we have a feeling Bay Area audiences will marvel over that more than the actual plot. But they should pay close attention to both. Dmytryk is the same director who gave the world Murder, My Sweet and Crossfire. This is top tier filmmaking.
|Intl. Notebook||Jan 25 2013|
The most popular film noir festival in the world launches its eleventh edition tonight in San Francisco when the Noir City Film Festival returns to the Castro Theatre. It runs until February 3, and screens 27 films, including three new 35mm restorations. Some of the movies on the slate this year include 1950’s Try and Get Me!, 1949’s Repeat Performance, 1948’s High Tide, 1950’s Sunset Boulevard, and 1962’s Experiment in Terror. Along with the films, the festival features guest of honor Peggy Cummins, who played the unforgettable character Annie Laurie Starr in 1950's Gun Crazy. There’s also a noir themed nightclub with live music, torch singers, burlesque and more. Although we love living overseas, events like this are a reminder of why the Bay area lifestyle is so wonderful. If we ever return to the U.S., it’ll be straight back to the Bay. The festival poster above is just the latest in a long series, and we’ve uploaded all the predecessors below. You can find out more about the Noir City Film Festival at the festival website.