|Vintage Pulp||Jun 15 2017|
Wow, these are razor sharp, but you'll be fine. Unrelated question—how's your insurance coverage?
|Vintage Pulp||May 28 2017|
Above you see a poster for the game changing film noir Gilda, which opened today in 1946 with Rita Hayworth and Glenn Ford in the starring roles as a casino owner's wife and a gambling drifter. This promo is different from the three we showed you some years back, so we thought we'd upload it just to further bolster our visual documentation of this classic. The piece was painted by the storied Russian born artist Boris Grinsson, who we've discussed only briefly but will certainly get back to. As for Gilda, it's been exhaustively covered by virtually every film writer far and wide, so we've got nothing to add. Watch it.
|Vintage Pulp||May 4 2017|
|Vintage Pulp||Apr 24 2017|
We ran across this West German poster for Solange ein herz schlaegt, aka Mildred Pierce, and realized we had a substantial gap in our film noir résumé. So we watched the movie, and what struck us about it immediately is that it opens with a shooting. Not a lead-in to a shooting, but the shooting itself—fade in, bang bang, guy falls dead. These days most thrillers bludgeon audiences with big openings like that, but back in the day such action beats typically came mid- and late-film. So we were surprised by that. What we weren't surprised by was that Mildred Pierce is good. It's based on a James M. Cain novel, is directed by Michael Curtiz, and is headlined by Joan Crawford. These were top talents in writing, directing, and acting, which means the acclaim associated with the movie is deserved.
While Mildred Pierce is a mystery thriller it's also a family drama revolving around a twice-married woman's dysfunctional relationship with her gold-digging elder daughter, whose desperation to escape her working class roots leads her to make some very bad decisions. Her mother, trying to make her daughter happy, makes even worse decisions. The movie isn't perfect—for one, the daughter's feverish obsession with money seems extreme considering family financial circumstances continuously improve; and as in many movies of the period, the only black character is used as cringingly unkind comic relief. But those blemishes aside, this one is enjoyable, even if the central mystery isn't really much of a mystery. Solange ein herz schlaegt, aka Mildred Pierce opened in West Germany today in 1950.
|Vintage Pulp||Mar 29 2017|
This simple but effective poster was made to promote the simple but effective film noir Night Editor, starring William Gargan, Janis Carter, and Jeff Donnell. A group of grizzled reporters arrayed around a poker game reminisce over past scoops, with one of the group eventually telling the story of Tony Cochrane, a cop who got himself in too deep with a dame. A dissolve to the past takes viewers to the cop's world, and the narrative is broken up by occasional returns to the smoky poker game, where the storyteller punctuates his tale with a bit of Monday morning quarterbacking.
The story is that Cochrane the cop, who was cheating on his wife with a beautiful society woman, was parked one night at a secluded beach when he and his lover witnessed a murder. But fearing exposure of their affair, he neither stops the killing, nor pursues the killer, and later actively tampers with evidence to hide his own presence at the murder scene. You know this is going nowhere good, but just how complicated the mess becomes is where the fun lies. Low budget, but reasonably entertaining, Night Editor premiered in the U.S. today in 1946.
|Vintage Pulp||Mar 16 2017|
This striking Roger Soubie promo poster for La maison des otages, aka The Desperate Hours, doesn't leave much doubt about what happens to Humphrey Bogart, but even without the poster there wouldn't be any doubt. Bogart stars, in his last villain role, as an ex-con who takes a family hostage in order to use their home as a hideout. During the Leave It To Beaver 1950s there was no way his character was going to go unpunished for pointing a gun at a kid. Even seeing it in the promo image below makes you cringe a little, doesn't it? But the inevitable consequences of Bogart's actions aren't the point—how he struggles to maintain the constantly evolving hostage scenario is what generates the drama, and the imprisoned family aren't his only problem. La maison des otages is a later noir, but a better one. It opened in France today in 1956.
|Femmes Fatales||Feb 23 2017|
Above, two borderline scary promo photos of Joan Crawford made when she was shooting the film noir Mildred Pierce, a movie that, embarrassingly, represents a gaping hole in our film watching résumé. We'll take care of that soon. These images are from 1945.
|Hollywoodland||Feb 5 2017|
In this production still from 1946's The Big Sleep featuring a bizarrely large hat in the foreground, Martha Vickers falls into Humphrey Bogart's arms. Bogart, under normal circumstances, would have been smart to likewise fall for Miss Vickers, but his other choice in the movie was Lauren Bacall. Which means it was she who got hat, head, and all the rest.
|Modern Pulp||Jan 28 2017|
Expert safecracker Gal Dove, played by Ray Winstone, has retired to sunny Spain, but criminal associates back in England want him for a job. Arriving in the Costa del Sol to make the pitch for them is the persuasive—and psychotic—Ben Kingsley, who terrorizes Gal and his close circle in an effort to bully him into partnering up. The movie mainly focuses on the battle of wills between a man trying to move on with his life and a monster that won't take no for an answer. For a long while it looks as though there won't be a heist at all, but the film circles around to that eventually, showing the event in montage form. And though this robbery is unique in execution it's ancillary plotwise, because Sexy Beast is less a heist film than a psychological drama about how difficult it is for a talented crook to get out the rackets, and how his former self and past sins are never deeply buried. Made in 2001 and directed by a man who clearly knows his film noir in Jonathan Glazer, this is both the most straightforward film showing at Noir City, and also the one—with its dialogue driven pacing and shorts bursts of violence—we can most easily imagine as a 1940s production. Dark, quirky, visually dazzling, and fun.
|Vintage Pulp||Jan 23 2017|
Tonight the Noir City Film Festival is also screening Stanley Kubrick's 1956 crime procedural The Killing. The title refers not to murder but to making a killing—i.e. a highly profitable score. Sterling Hayden leads a cast that includes Coleen Gray, Elisha Cook, Jr., and Marie Windsor. Hayden and crew hope to rob a race track, and to do this they lay out a precise plan that includes causing a brawl at the track bar as one distraction, and shooting a horse mid-race as another. What could go wrong, right? But the crazy plan makes sense, and if you have trouble following it a stentorian narration breaks down the action for you. We didn't mind that so much—the entire premise of the movie is that it's a faux-documentary, so the voiceover is something you have to accept. But the trumpets and tympani on the soundtrack—wow—are way overcooked. Still, this is a nice piece of noir, occasionally running on parallel timelines, with plenty of directorial style from a twenty-eight-year-old Kubrick. Some might take issue with the film's heavyhanded irony, but it's all somewhat redeemed by the perfection with which Hayden delivers his final line. The Killing didn't do well at the box office, however as often happens with films from directors who later become icons, opinions have shifted over the decades. But even if modern day critics are in agreement that The Killing is a top effort, it still won't be everyone's cup of tea. You'll just have to judge for yourself.