Category Archives: Film Noir

Not so black & white: the exhibition of classical film noir in Melbourne

Today I’m celebrating Noirvember with a terrific guest post by my friend Dean Brandum, film scholar and the man behind the wonderful site, Technicolour Yawn: Melbourne cinemas of the happening years: 1960 – 84. Dean looks at the myths and realities around the exhibition of classical film noir in forties and fifties Melbourne. Film noir is often seen as mainly comprising B-movies that would never have graced the screens of reputable Melbourne cinemas. But, as Dean makes clear, for the most part this was not the case.

Gun Crazy“You could always find me in the theatre round the corner. People like me liked our pictures dark and mysterious. Most were B-movies made on the cheap, others were classy models with A-talent, but they all had one thing in common, they lived on the edge. They told stories about life on the streets, shady characters, crooked cops, twisted love and bad luck. The French invented a name for these pictures – Film Noir.”

Richard Widmark narrating The American Cinema’s episode ‘Film Noir’

Whilst this TV overview of film noir was an excellent production and was immeasurably aided by the gravitas of the (then otherwise retired) voice of Richard Widmark’s narration, his opening introduction has always rankled with me, for it perpetuates a myth about film noir, one which has been developed to be shoe-horned into a narrative – that film noir was not a mainstream commodity.… Read more

The Big Nowhere #3: Plunder Road

Plunder Road lobby

The Big Nowhere is a series of columns I’ve been doing for the 4:3 site, in which I look at the best film noir you’ve never heard of. This week, it’s Hubert Cornfield’s obscure 1957 heist noir, PLUNDER ROAD. Clocking in at just 72 minutes, this cheaply made little heist story achieves an atmosphere of suspense and level of thrills not seen in many films twice its length.

You can read the piece in full here on the 4:3 site.

Interview: Eddie Muller, Film Noir Foundation

Gun Crazy hi-resA warning: the following interview with Eddie Muller does not contain any discussion of the question, ‘what is film noir?’ It’s one of the few film noir related topics I didn’t talk about with him. Muller, sometimes known as ‘the Czar of Noir’, is a busy guy, founder and president of the Film Noir Foundation, fiction and non-fiction author, publisher, film restorer and now DVD distributor. His Dark City: The Lost World of Film Noir (1998) and Dark City Dames: The Wicked Women of Film Noir (2001) are required reading for all would-be scholars film noir, and he has a new book out, Gun Crazy: The Origin of American Outlaw Cinema. Directed by Joseph H Lewis, Gun Crazy is the sordid story of a husband and wife team of criminal sociopaths, played by Peggy Cummins and John Dall. The film sank without a trace upon its release in 1950, but is now regarded as a classic and a much earlier precursor to the 1967 film, Bonnie and Clyde.

You have a new book out, Gun Crazy: The Origin of American Outlaw Cinema. As the title suggests, it’s about the making and influence of Joseph H Lewis’s 1950 film, Gun Crazy. As you stress in the book, the film hardly caused a ripple when it was first released.Read more

The Big Nowhere #2: Crashout

CrashoutThe second of my series looking at some of the best film noir you’ve never heard of, ‘The Big Nowhere’, is live here here at the film site, 4:3.

This week I  look at Lewis R. Foster’s little known 1955 jail break noir, Crashout. Crashout is a B-noir in every sense of the word. The prison break that opens the film was borrowed from scenes shot for another jail noir, Don Siegel’s Riot in Cell Block 11 (1954), and the cast is made up almost completely of solid but unspectacular character actors. But in addition to being fast paced and incredibly tense, Crashout has a remarkably sophisticated story that belies its outward appearance as a macho prison noir.

You can read the piece in full here on the 4:3 site.

The Big Nowhere: The best film noir you have never heard of

Martha 1As regular Pulp Curry readers will be aware, one of my great cinema loves in film noir. Everyone can name their favourite films noirs, usually the big name, famous ones, like Double Indemnity (1944), the 1946 version of The Killers or Orson Welles’ Touch of Evil (1958). But one of the things I love about the canon of cinema known as film noir is how broad and deep it is. So many fantastic films noirs were made that are relatively unknown to many people.

For a while now, I’ve been thinking it would be great to do a series of posts on the best unknown noirs and what they tell us about what film noir. I was going to do this for Pulp Curry, but a meeting during the recent Melbourne International Film Festival with Conor Bateman, who runs the great Sydney-based film site, 4:3, made me think they might be a better location for the posts.

So over the next few months, I’m am going to be doing a series of columns on 4:3, each one focusing on a different film noir that I think is particularly good and unknown, and posting links to them on this site.

The criteria are simple. That the film be little known, good, American and released during 1945 – 1960. … Read more