film noir
Kieron Tyler
The Night of the Hunter is not recorded as having charmed critics when released in 1955, but its reappearance in cinemas means it can be seen for what it was: a dark, frightening and intense film which questions the nature of faith and what happens when evil comes to town.Central to the impact is Robert Mitchum’s creepy portrayal of bogus preacher, con man and serial killer Harry Powell. Without Charles Laughton’s sure-footed and distinctive direction framing this unforgettable performance, the film would not be as impactful as it is. Although almost 60 years old, The Night of the Hunter Read more ...
Nick Hasted
Build My Gallows High, Farewell, My Lovely: Cold Comes the Night. The cod-profound, slightly tortured syntax of its title is in the lineage of downbeat pulp fiction Tze Chun’s film aspires to. Its strength is its delineation of a working-class world in upstate New York, where single mother Chloe (Alice Eve) manages a motel popular with prostitutes, her sleazily handsome local policeman ex- Billy (Logan Marshall-Green, pictured below right with Bryan Cranston) takes a cut of the action, and she tries to hang on to her beloved young daughter from a social worker convinced she’s being raised in Read more ...
Tom Birchenough
Where there’s a stoker there must be a furnace, and this being Russian director Alexei Balabanov’s latest story from St Petersburg’s gangster 1990s, as well as heating some snow-bound Soviet industrial hulks, its flames also conveniently consume whatever corpses the local criminal gang brings in.That they have such immediate, unceremonial access is less the result of The Stoker inhabiting a world of absolute lawlessness, both literal and moral – that’s practically a given with Balabanov – than because the furnace is presided over by the vulture-thin stoker of the title, Ivan (Mikhail Skryabin Read more ...
Graham Fuller
Although Anthony Mann is best known for the five James Stewart Westerns (and one apiece starring Henry Fonda and Gary Cooper) he directed during the 1950s, it was the dour film noirs he made during the previous decade that made his name. Like Mann’s T-Men, Raw Deal, He Walked by Night, and Border Incident, Railroaded! (1947) was written by John C Higgins, whose pacey, violent stories owe much to the pulps.The opening is particularly impressive for being low key. A heist on a beauty parlour that’s a front for a gambling racket goes wrong when a cop is murdered by the masked robber (John Read more ...
Emma Dibdin
There are very few examples in film history of a son directing his mother, and there’s a distractingly Oedipal vibe at the core of Barnarby Southcombe’s I, Anna that might offer some clue as to why. Charlotte Rampling turns in a brittle, enigmatic performance in her son’s big-screen debut, playing the eponymous divorcee whose attempt to become sexually bold goes violently awry.Anna attends a singles evening initially with trepidation, but gains momentary courage from a straight-talking fellow single (Honor Blackman), who encourages her to loosen up. She goes home with a man. Cut to Read more ...
Graham Fuller
Joseph H. Lewis’s The Big Combo (1955) isn’t as celebrated as Gun Crazy (1950), his other great film noir, but it’s as perverse and violent as anything in the canon. A vehicle for the husband-and-wife team of Cornel Wilde and Jean Wallace, it’s about a dogged plainclothesman, Leonard Diamond, who has spent three years following Susan Lowell, a masochistic socialite enmeshed with suavely sadistic Mob boss Mr. Brown (Richard Conte) whose organisation, the Combination, leaves no traces. Diamond thinks Susan will lead him to expose Brown – but, of course, he’s fallen obsessively in love with her Read more ...
emma.simmonds
Rian Johnson’s spunky debut Brick (2005) fused the past with the present, the old with the young, as high-school kids inhabited the archetypal characters and played out scenarios from 1940s noir. It worked beautifully. His third film Looper - whilst sharing Brick’s love of posturing dialogue and shadowy villainy - looks forward and then forward again and finds that the future is far from bright. If Brick was conceptually ambitious yet small-scale, Looper gives us filmic chutzpah with the budget (and stars) to match.It’s set predominantly in a dystopian 2044, in and around Kansas City, with Read more ...
emma.simmonds
In Vertigo Kim Novak plays two women who are really just one. First Madeleine, a supernatural siren, a woman apparently possessed by her tragedienne great-grandmother Carlotta Valdes. However, it’s a performance within a performance and she’s merely a facsimile, a devastating creation played by an agent in a murderous plot. The imposter manipulates Scottie (James Stewart) into loving her only so that he may witness her apparent death. Then there’s Judy, the real woman behind the performance who is persuaded back into the part when Scottie can’t let go of Madeleine’s ghost.The dual role Read more ...
Kieron Tyler
Calling Zift hard-boiled undersells it. This Bulgarian film is so tough, it’s as though director Javor Gardev blow-torched the conventions of film noir so the picture he paints from the ashes is pure black. It’s in black and white, and had to be. Despite the darkness and violence, Zift is a compelling, breathless ride which flies by.The word "zift" has a few meanings. Medically, it’s the acronym for Zygote Intrafallopian Transfer. In Bulgarian slang it doubles for shit. It’s also Bulgarian for tar, wads of which were a predecessor of chewing gum. Zift’s main man Moth (Zachary Baharov) is a Read more ...
Adam Sweeting
Connecticut-born Jules Dassin graduated from lightweight suspense and comedy fodder for MGM to pungent, location-based crime dramas, hitting his stride with Brute Force (1947) and The Naked City (1948), both included in this package. However, his upward trajectory was derailed after he was identified as a communist at the HUAC hearings. Producer Darryl Zanuck gave Dassin the script for Night and the City and dispatched him to London to shoot it, days before the Committee was due to grill the director. Then Dassin relocated to France, where he created the noir masterpiece - and the third Read more ...
Graham Fuller
Wim Wenders’ fictionalised Dashiell Hammett biopic, the first of his six American films, was a critical and box-office failure, which, along with Francis Ford Coppola’s equally damned Vegas musical One From the Heart, brought down Coppola’s Zoetrope Studio. It almost goes without saying that both films - they starred the unstarry Frederic Forrest - are jewels: bracing, dream-like homages to old-fashioned sound-stage artifice. Where One From the Heart is a neon-crazy confection, however, Hammett is a dankly claustrophobic neo-noir.Seven years in gestation, it premiered at Cannes in 1982 after Read more ...
Graham Fuller
What would loving Gilda Farrell be like? I do mean Gilda, and not Rita Hayworth, who was 27 when she portrayed her. The flamboyantly seductive persona Gilda has adopted to drive men crazy obscures the true nature of a woman who learns it brings out the worst in them and that it's a heavy burden to carry. As the actress ruefully remarked of her husbands, “They all married Gilda, but they woke up with me” - a telling putdown of the erotic artifice in which she herself was draped. The “clothed” striptease Gilda electrifyingly performs in Charles Vidor’s perverse and sophisticated film Read more ...