Archives for May 2014

The Film Noir File: A Day with Fritz Lang, Der Noirmeister

By Film Noir Blonde and Mike Wilmington

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK: Friday, May 30: A Day of Noir with Fritz Lang

Fritz Lang lived in a world of nightmares: in 20th century Germany during World War I, the economic collapse of the Weimar Republic, the turbulent sturm und drang of the 1930s, the murderous rise of the Nazis and the subsequent conflagration of WWII.

Lang created cinematic nightmares as well: crafting terrifying frescoes and mad (but sometimes all too true) visions of a world of crime and war. His movies, mostly done in the ultra-noir hues of high-style black and white cinematography, spanned the silent era, when he made “Metropolis,” “Die Nibelungen” and the “Dr. Mabuse” thrillers, and the sound era, when he made “M,” “Fury,” “Scarlet Street” and “The Big Heat.”

Fritz Lang was a noir master.

Fritz Lang was a noir master.

Lang, who started his artistic career as a sculptor, was equally great as a director of German art films and of American crime movies. He made cinematic classics in both countries. His early collaborator, and also his wife, was the brilliant scriptwriter Thea Von HarbouM”), who ended up leaving him and joining the Nazi Party.

Lang managed to elude Fascist censorship and was once offered the leadership of the entire German film industry by Joseph Goebbels, who (like Hitler) was an admirer of Lang and Von Harbou’s spectacular science fiction epic “Metropolis.” (See below.) A leftist and anti-Nazi, and also a man who had Jewish relatives, Lang fled Germany and Europe instead, and wound up one of the top directors of the Hollywood studio system during its heyday. He was also, indisputably, one of the reigning masters of the movie style we call film noir.

Young French critic-directors (Godard, Truffaut, Chabrol) idolized Lang, as much for his American films as his German ones. Finally, in the mid-1950s, he returned to Germany. He made a last few German pictures, and co-starred, as himself. in Jean-Luc Godard’s French classic “Contempt.”

Fritz Lang, born in Vienna in 1890,  died in Los Angeles in 1976, at age 85. Eight of his best pictures are screening on TCM this Friday.

(The Lang films without notes below have been reviewed previously in Film Noir Blonde. Next week, starting Thursday, seven Lang films will play on the big screen at the Aero Theatre in Santa Monica.)

“Scarlet Street” (1945) stars Edward G. Robinson and Joan Bennett.

“Scarlet Street” (1945) stars Edward G. Robinson (center) and Joan Bennett.

6 a.m. (3 a.m.): “Metropolis” (1927, Fritz Lang). The rich vs. the poor, the factory owners vs. the workers, and the mad scientist vs. the people and their heroine (Brigitte Helm as the human Maria and her double, the false robot Maria) in the greatest of all silent era science fiction epics. And it’s noir as well. With  Alfred Abel and Rudolf-Klein-Rogge).

7:30 a.m. (4:30 a.m.): “M” (1931). With Peter Lorre, Otto Wernicke and Gustaf Grundgens.

9:15 a.m. (6:15 a.m.): “Fury” (1936). Spencer Tracy, Sylvia Sidney, Bruce Cabot, Walter Brennan and Walter Abel.

11 a.m. (8 a.m.). “Scarlet Street” (1945). With Edward G. Robinson, Joan Bennett and Dan Duryea.

1 p.m. (10 a.m.). “Clash by Night” (1952). With Barbara Stanwyck, Robert Ryan, Paul Douglas and Marilyn Monroe.

3 p.m. (12 p.m.). “The Blue Gardenia” (1953). With Anne Baxter, Richard Conte, Raymond Burr, Ann Sothern and Nat King Cole.

4:45 p.m. (1:45 p.m.). “Moonfleet” (1955). A moody Robert Louis Stevenson-style costume adventure-romance, about a dashing pirate (Stewart Granger) who wins the hearts of a young lad (Jon Whiteley) and several beautiful and susceptible ladies (Viveca Lindfors, Joan Greenwood). Based on a bodice-heaving bestseller, with supporting turns by George Sanders and Ian Wolfe. They especially loved this one in “Cahiers du Cinema.”

6:15 p.m. (3:15 p.m.). “”While the City Sleeps” (1956). With Dana Andrews, Ida Lupino, George Sanders, Thomas Mitchell, Vincent Price, Howard Duff, Rhonda Fleming and John Drew Barrymore. [Read more…]

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Honoring heroes on Memorial Day

James Stewart in uniformWWII vet Jimmy Stewart rose to the rank of Brigadier General. A heartfelt thank-you and deepest appreciation to all our servicemen/women and veterans for their sacrifices.

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Shady lady delight: ‘The Lady from Shanghai’ at Lacma

As part of the Essential Orson Welles series at the Los Angeles County Museum of Art, “The Lady from Shanghai” and “Mr. Arkadin” will play Saturday, May 24, starting at 7:30 p.m.

The Lady from Shanghai/1948/Columbia Pictures/87 min.

Rita Hayworth and Orson Welles

The Lady from Shanghai poster“Citizen Kane” is hallowed cinematic ground, I know, but my favorite Orson Welles film is “The Lady from Shanghai” (1948), which he wrote, produced, directed and starred in, playing opposite his real-life wife Rita Hayworth, one of the most popular entertainers of the 1940s.

In “The Lady from Shanghai” Welles plays Michael O’Hara, an Irish merchant seaman, in between ships in New York. By chance, or so he thinks, he meets the wily blonde operator Elsa Bannister (Hayworth) and saves her from being mugged in the park. Elsa invites Michael to join her as she sets sail for Acapulco.

The boat belongs to her husband, a wizened, creepy criminal lawyer named Arthur Bannister (Everett Sloane), and he’ll be on the trip too. So will his partner, the moon-faced and sinister George Grisby (Glenn Anders).

O’Hara agrees regardless. “Once I’d seen her,” he says, “I wasn’t in the right frame of mind.” On their voyage (the yacht belonged to Errol Flynn), Elsa and Michael flirt every chance they get; Arthur gets touchy and calls her “Lovah,” in a most unloving way; Grisby is generally unpleasant.

The tension builds, then breaks when they reach San Francisco. But not for long. Grisby has a plan to cash in on an insurance policy by faking his own murder and bribes Michael to help him. Need I say the plan doesn’t quite work out as they’d hoped? This is film noir, you know. “The Lady from Shanghai” is richly surreal and haunting in its intensity.

Welles and cinematographer Charles Lawton Jr. use staggering angles and startling black shadow almost to the point of abstraction. Two of the most famous sequences are the aquarium and the funhouse hall of mirrors at the end. Of the latter, Time Out notes that “it stands as a brilliant expressionist metaphor for sexual unease and its accompanying loss of identity.”

The script, based on the Sherwood King novel “If I Die Before I Wake,” crackles with noir attitude (“Everybody’s somebody’s fool,” says O’Hara). Hayworth, the perfect femme fatale, looks contemporary and sexy whether in her chic nautical garb or the filigree hat she wears in the courtroom.

Welles had to endure tremendous interference from Columbia Pictures execs, particularly studio chief Harry Cohn. Though the film was shot in 1947, Cohn delayed the release until 1948 in order to “fix” it. Welles’ original 155-minute cut was chopped to 87. Cohn also insisted that the movie have more closeups of Hayworth and that Welles film a scene of her singing. Welles was displeased with the score by the studio-appointed composer who disregarded Welles’ guidelines for the music; the mirror scene, for example, was to be unscored to heighten the sense of terror.

“The Lady from Shanghai” did not do well in the U.S. upon its release, though it was admired in France. Welles’ decision to have Hayworth cut her long red hair and bleach it blonde caused a controversy, and many in Hollywood believed it contributed to the film’s poor box-office returns. Watch this film for its serpentine plot twists, stunning images and as a testament to the fact that you should never underestimate the power of a good-hair day.

“The Lady from Shanghai” plays at 7:30 p.m. Saturday, May 24, at the Los Angeles County Museum of Art (LACMA), 5905 Wilshire Blvd.

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The Film Noir File: Anthony Mann’s sizzling ‘Raw Deal’

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK:

Raw Deal“ (1949, Anthony Mann). Friday, May 23, 5:15 p.m. (2:15 p.m.)

The eternal triangle: Claire Trevor, Marsha Hunt and Dennis O’Keefe in “Raw Deal.”

The eternal triangle: Claire Trevor, Marsha Hunt and Dennis O’Keefe in “Raw Deal.”

We’re in Washington state, on the run, surrounded by mountains, fog and guys with guns. Dennis O’Keefe is one of them: a tough, angry escaped convict named Joe Sullivan. Joe, need we say, got a raw deal. He took the rap and went to stir for fat, sleazy mobster Rick Coyle (Raymond Burr), a rat who double-crossed him and now wants him dead. Claire Trevor is Pat Cameron, the moll who loves Joe and sprang him from jail. She’s on the lam too. Marsha Hunt is a pretty legal caseworker who thinks Joe is innocent and got mixed up in the jail break; she also has a yen for the guy. John Ireland is bad news walking: Coyle’s murderous torpedo.

Here is a vintage, top-of-the-line B-movie film noir from the Golden Age and they don’t get much better or more noir. Director Anthony Mann was as much a master of this form as he was of the Western, or the epic, and he‘s at his peak in “Raw Deal.“ The cast is top-notch. The writers, a crack team, included Leopold Atlas (Wellman’s “The Story of G.I. Joe”) and Mann’s frequent collaborator, John C. Higgins (“T-Men,” “Border Incident.”) The photography – grim, moody, coldly romantic  – was shot by the master, John Alton. These guys and gals all know what they’re doing, and the picture is a little masterpiece, the real deal.

Thursday, May 22

8 p.m. (5 p.m.): “The House on 92nd Street” (1945, Henry Hathaway). With William Eythe, Lloyd Nolan, Signe Hasso and Gene Lockhart. Reviewed in FNB on March 13, 2013. [Read more…]

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FNB tributes to ‘Double Indemnity’ continue: Look on twitter

In honor of the 70th anniversary of “Double Indemnity,” we at FNB are hosting intermittent tributes. On Valentine’s Day, we compiled  a list of 14 reasons we adore the flick. Yesterday, we started tweeting the novel (by James M. Cain). Not sure how long that will take, but it should be fun. And here we are rerunning a review. Next, we should host a party in the Hollywood Hills. Until then …

Double Indemnity/1944/Paramount/106 min.

Fred MacMurray and Barbara Stanwyck

She’s got a plan, she just needs a man. And that’s a welcome challenge for a femme fatale, especially one with an ankle bracelet.

In Billy Wilder’s film noir masterpiece, “Double Indemnity,” from 1944 Phyllis Dietrichson (Barbara Stanwyck) wants out of her marriage to rich, grumpy oldster, Mr. Dietrichson (Tom Powers). Poor Phyllis doesn’t get much love from Dietrichson’s adult daughter, Lola (Jean Heather) either. Fresh-faced and feisty, Lola is hung up on her temperamental boyfriend Nino Zachetti (Byron Barr).

For Phyllis, seducing a new guy to help make hubby disappear is so much more cost-effective than hiring a divorce lawyer. A smart insurance man is even better. Along comes Walter Neff (Fred MacMurray) trying to sell a policy, just as Phyllis finishes a session of sunbathing, wearing an ankle bracelet and not much more. That’s about as much bait as Walter needs.

They flirt, fall for each other and eventually arrange to bump off Mr. Dietrichson, making it look like he fell from a train. It’s a one-in-a-million way to go with a huge payoff from a double-indemnity insurance policy issued by Walter’s company. After that, they play it cool and wait for the check. They’ve planned it like a military campaign, so they’re in the clear until Walter starts to suspect that he’s not the only guy who’s been drooling at Phyllis’ ankles.

Edward G. Robinson

Besides his lust for the blonde (and their chemistry truly sizzles), Walter’s real love is the platonic father/son relationship he has with his boss at the insurance company, Barton Keyes, sharp, cynical and married to his job, played brilliantly by Edward G. Robinson.

Critic Richard Schickel says “Double Indemnity” is the first true noir. I disagree – what about 1941’s “The Maltese Falcon” and “Stranger on the Third Floor” from 1940? Or even Fritz Lang‘s “M” from Germany in 1931? But the point is “Double Indemnity” was the standard against which every subsequent noir was measured. It’s a glorious treat visually. John Seitz’s luscious lighting and captivating use of shadow bring to mind Vincent Van Gogh’s observation: “There are no less than 80 shades of black.” The score by Miklos Rozsa works perfectly with the visuals to build and sustain atmosphere.

The performances (Stanwyck, MacMurray and Robinson) are tremendous. Though Stanwyck was nominated for the best actress Oscar and “Double Indemnity” was also nominated in six other categories (picture, director, screenplay, cinematography, sound recording and score), MacMurray and Robinson were not in the running and the film didn’t win any Oscars. In retrospect, their work in this movie is some of the best acting of the decade. MacMurray (who might be most familiar as the father in TV’s “My Three Sons”) is such a natural as the easily tempted yet very likeable Neff, it’s surprising now to learn that the role was a major departure from his usual nice-guy parts.

As James Pallot of “The Movie Guide” writes: “Robinson … beautifully gives the film its heart. His speech about death statistics, rattled off at top speed, is one of the film’s highlights.” When Keyes realizes that Walter has betrayed him, it’s heartbreaking in a way that few other noirs are.

Wilder co-wrote the script with Raymond Chandler, based on the taut little novel by James M. Cain, published in 1936. (The novel was inspired by the real-life 1927 Snyder-Gray case.) In the book “Double Indemnity,” smitten Walter says of Phyllis’ physical charms, “I wasn’t the only one that knew about that shape. She knew about it herself, plenty.”

The dark, witty script follows the book pretty closely, but Chandler’s contributions are key. For example, check out this bit of simmering dialogue:

Phyllis: There’s a speed limit in this state, Mr. Neff, 45 miles an hour.

Walter: How fast was I going, Officer?

Phyllis: I’d say around 90.

Walter: Suppose you get down off your motorcycle and give me a ticket.

Phyllis: Suppose I let you off with a warning this time.

Walter: Suppose it doesn’t take.

Phyllis: Suppose I have to whack you over the knuckles.

Walter: Suppose I bust out crying and put my head on your shoulder.

Phyllis: Suppose you try putting it on my husband’s shoulder.

Walter: That tears it…

Chatting things over while Mr. Dietrichson is away.

Now it seems egregious that Wilder (1906-2002) and “Double Indemnity” were snubbed at the Oscars. Born in what is now Poland, Wilder escaped the Nazis, but his mother and other family members perished in a concentration camp. He knew firsthand the dark, sometimes horrific, side of life and that knowledge imbued his work with an unparalleled richness and depth. He was also hilarious. If I could have martinis with any film noir director, living or dead, it would be Billy.

I’ve seen interview footage of him where he punctuated his conversation with deep and frequent laughter. And I’ve heard stories about him playing practical jokes – apparently he when he lost the 1944 best director Oscar to Leo McCarey (who won for “Going My Way” starring Bing Crosby) Billy stuck out his foot and tripped McCarey as he walked down the aisle to pick it up. Maybe if I get that fantasy date with the spirit of Billy, I’ll bring Dick Schickel along too. He might benefit from a girly martini and tagging along with Billy and me.

So, suppose you do yourself a favor and watch “Double Indemnity” the first chance you get. You won’t be sorry.

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Get your swag on, help a great cause: Peace Over Violence

CGFGC flyer

The FNB team is looking forward to the sixth annual Canned Goods For Good Causes charity ball & swag bag party, to be held on Monday, June 2, from 7 p.m. to 1a.m. at Hollywood’s King King, 6555 Hollywood Blvd., 90028. All proceeds from the event will benefit Peace Over Violence, a violence-prevention and crisis-intervention organization.

Emcee Travis Clark (Tiny Odd Conversations) will host an evening of comedy and music featuring comedians Sara Schaefer (MTV’s “Nikki and Sara Live”), Sam Comroe (Conan), Drew Lynch, Andie Bolt, and Lianna Carrera, and musicians Mary Morales, EVMB (LA Beatbox Champion), Rachel B, and DJ Little Kinky.

Greenbar Collective will sponsor one and a half hours of free signature cocktails from 7 to 8:30 p.m.

Raffle prizes have been provided by: Actor’s Key, Adult Swim, Artist Nidhi Chanani, Artist Tess Fowler, Drongo Photo, Eufuria Pet Salon, Final Draft, Focus Features, Foxy and Fierce Bootcamp, Kneady Bakery, LGO Restaurants, Lola and Roxy’s Salon, Not a Burger Stand, Outback Steakhouse, Paramount Pictures, Perfect Touch Massage, Pickwick Lanes, Playroom Ent Games, and Push Pull Cardio.

Guests will take away gift bags with swag provided by Adult Swim, Craftsman Soap, Criterion, D3P, Disney, Focus Features, Inno Games, Inventing Daily, Ketchup Entertainment, Lionsgate, Little Orbit, Lok-A-Bolt, Miramax, Paramount, Shout! Factory, Universal Home Entertainment, Warner Bros., and more.

Just put on something swanky, bring a $25 donation for Peace Over Violence and you’re bound to have fun. To RSVP, email: cannedgoodsforgood@gmail.com. See you there!

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Remembering Malik Bendjelloul: Rest in peace

Rodriguez and Malik Bendjelloul at the Los Angeles press conference in 2012.

Rodriguez and Malik Bendjelloul at the Los Angeles press conference in 2012.

We at FNB were sad to learn of Malik Bendjelloul’s death on Tuesday in Stockholm. Mr. Bendjelloul won the Oscar in 2013 for his film “Searching for Sugar Man,” a deeply touching documentary about Detroit-born 1970s singer Sixto Rodriguez, who fell into obscurity in the U.S. but was revered in South Africa and elsewhere.

“I thought I’d never heard a better story in my life and would never hear a better story,” said Mr. Bendjelloul in 2012. “It was like somebody had written this wonderful script, except it was a real story. And it was a blessed story; every time I lifted a stone there was another gold coin. It was so much richer than I ever could have imagined.”

We met Mr. Bendjelloul and Rodriguez when they were in Los Angeles to promote the film in July 2012.  At that time, Mr. Bendjelloul was brimming with enthusiasm for the film and Rodriguez’s revived career. He struck us as an uncommonly talented filmmaker and we remember his intelligence, humility and low-key humor.

Our thoughts and prayers are with Mr. Bendjelloul’s family.

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The Film Noir File: Howard Hawks and Raymond Chandler, Bogie & Bacall: As good as noir gets

The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

PICK OF THE WEEK

It doesn't get any better than Bogie and Bacall in "The Big Sleep."

It doesn’t get any better than Bogie and Bacall in “The Big Sleep.”

The Big Sleep” (1946, Howard Hawks). Tuesday, May 20, 12:15 p.m. (9:15 a.m.) With Humphrey Bogart, Lauren Bacall, Dorothy Malone, and Elisha Cook, Jr. Click here to read the FNB review.

Thursday, May 15

6 p.m. (3 p.m.): “The Night of the Hunter” (1955, Charles Laughton). With Robert Mitchum, Shelley Winters, and Lillian Gish. Reviewed in FNB on Feb. 3, 2011.

Saturday, May 17

7 a.m. (4 a.m.): “Each Dawn I Die” (1939, William Keighley). With James Cagney, George Raft, Jane Bryan, George Bancroft and Victor Jory. Reviewed in FNB on March 10, 2012.

8:45 a.m. (5:45 a.m.): “Johnny Angel” (1945, Edwin L. Marin). With George Raft, Claire Trevor, and Signe Hasso. Reviewed in FNB on June 27, 2012.

8 p.m. (5 p.m.); “The Haunting” (1963, Robert Wise). With Julie Harris, Claire Bloom, Richard Johnson and Russ Tamblyn. Reviewed in FNB on Oct. 29, 2013. [Read more…]

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‘Red Rock West’ still rocks, 21 years later

Red Rock West posterRed Rock West/1993/Red Rock Films/98 min.

Nicolas Cage’s new movie “Joe” is being hailed as Cage’s comeback. It’s a meaty role in a dark film about desperate people doing bad things, to be sure.  But I like my degenerates a bit more clever and I kept thinking of Cage’s terrific turn in the smart and stylish neo-noir “Red Rock West.” It’s now 21 years old and I think it improves with age.

In playing Michael Williams, an ex-Marine looking for a job in a dusty Wyoming town, Cage creates an uncommonly sympathetic character. Rejected for a spot on an oil-drilling crew because of his bad leg, Michael figures he’s got nothing to lose by stopping into the Red Rock West tavern, the hub of a bustling metropolis of 200 people.

Brooding tavern-owner Wayne Brown (J.T. Walsh) mistakes Michael for a hitman known as Lyle from Dallas (damn those Texas license plates). Wayne wants his wife, Suzanne (Lara Flynn Boyle), out of his hair forever. Before Michael’s picked up a buzz, he stumbles into a quagmire of serpentine deception and murder for hire.

Since he accepted the cash, Michael gives it a go, but changes his mind when he gets an eyeful of the raven-haired, fine-boned Suzanne – a flinty, ferocious femme fatale – and hears her side of the story, including a chapter in which she wants Michael to kill Wayne. “Being married does strange things to people,” she tells him.

Nic Cage and Lara Flynn Boyle remind us of Robert Mitchum and Jane Greer.

Nic Cage and Lara Flynn Boyle remind us of Robert Mitchum and Jane Greer.

Michael hits the road but comes to a screeching halt as he nearly drives over a body, who, it turns out, is Suzanne’s ex-lover. Then the real Lyle from Dallas (the inimitable Dennis Hopper) shows up. Lyle from Dallas don’t take kindly to another man messin’ with his hard-earned hit money. Natch.

It also turns out that Wayne works two jobs – tavern owner and, gulp, town sheriff. Actually make that three – pre-Red Rock, he and Suzanne robbed a bank in Illinois for about $2 million. Suzanne don’t take kindly to anybody messin’ with her haul from the robbery so, with Michael in tow, she sets out to stake her claim, then vamoose South of the Border. But, in the end, Michael isn’t quite the slave to cash that she is and when she finally heads out of town, it’s not quite in the style she’d been planning.

Dennis Hopper plays the "real" hitman from Texas.

Dennis Hopper plays the “real” hitman from Texas.

At 98 minutes, “Red Rock West” is a taut, sexy, funny story that lingers at the right spots and lurches forward just when you were getting cozy. The scene in the graveyard where the four principals dig up bills and duke it out, then plug and pierce the night away is stellar. As they go through bullets, blades, a sword and chains, Hopper snarls, Cage seethes, and Boyle shows prowess with a pistol. Fine performances, all around.

Director John Dahl, who co-wrote the script with his brother Rick, taps 1940s film noir roots with their exploration of shifting identities, appearance vs. reality and the range of motivations that drive people to create their own moral codes. Cage’s disillusioned dreamer recalls the laconic sadness of a young Robert Mitchum, though Cage’s part doesn’t quite allow him to plumb the depths of darkness. Boyle recalls the regal beauty of Gene Tierney and the cool intensity of Jane Greer.

The story is set in a dusty Wyoming town.

The story is set in a dusty Wyoming town.

Infused with humor, the script meditates on the role that luck plays in our lives. We see that Cage has borne Fortune’s smiles and blows. At one point, upon finding his gas tank near empty, he mutters, “F’ing story of my life.”

Natives of Billings, Montana, the Dahls set the film not in a claustrophobic or hostile big city but in sunny Western climes, which work well to highlight Cage’s isolation and desperation. Country singer and actor Dwight Yoakam plays a grimy a truck driver who gives Cage a lift and Yoakam’s mournful “Thousand Miles From Nowhere” is a fitting conclusion to the film’s score. (Dahl started his career directing shorts and music videos.)

After 1989’s “Kill Me Again” and “Red Rock,” John Dahl made “The Last Seduction” in 1994 as well as “Rounders” in 1998 and “You Kill Me” in 2007. He’s also worked on many high-profile TV shows like “Breaking Bad,” “True Blood” and “Dexter.” We hope he and Nic Cage can hook up again – a slick thriller, or a jet-black TV series, perhaps? We’re waiting impatiently.

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Film Noir fills screens in Palm Springs, at Lacma and on TCM

Noiristas are spoiled for choices yet again! The Arthur Lyons Film Noir Festival starts Thursday night, May 8, in Palm Springs and runs through Sunday, May 11.

Deadline USA posterThe lineup includes: “The Window” (1949, Ted Tetzlaff), “Roadblock” (1951, Harold Daniels), “Too Late for Tears (1949, Byron Haskin), “Sunset Blvd.” (1950, Billy Wilder), “Sorry, Wrong Number” (1948, Anatole Litvak), “Southside 1-1000” (1950, Boris Ingster), “Storm Warning,” (1951, Stuart Heisler), “The Killers” (1946, Robert Siodmak), “Shack Out on 101” (1955, Edward Dein), “Deadline U.S.A.(1952, Richard Brooks), “Laura” (1944, Otto Preminger) and “Out of the Past” (1947, Jacques Tourneur).

Special guests are: Barbara Hale, Nancy Olson, author Victoria Wilson, Susie Lancaster, author Kate Buford, Terry Moore and Susan Andrews.

Orson Welles and his oeuvre are honored at Lacma.

Orson Welles and his oeuvre are honored at Lacma.

Meanwhile, at the Los Angeles County Museum of Art, the stellar “Essential Orson Wellesseries continues until June 7.

Says the museum: “Screen legend Orson Welles was a pioneering filmmaker and raffish public personality best known for the remarkable achievement of ‘Citizen Kane.’  Focusing on Welles as a trailblazing director, this series, presented by the Academy, showcases nine of the 12 films completed in his lifetime (several of them screening in brand-new restorations).

And, as always, Turner Classic Movies (TCM) offers plenty of retro darkness and debauchery. TCM times are Eastern Standard and (Pacific Standard).

Murder, My Sweet
(1944, Edward Dmytryk). Saturday, May 10, 11:30 p.m. (8:30 p.m.), With Dick Powell, Claire Trevor, Mike Mazurki and Anne Shirley.

Sunday, May 11

2 p.m. (11 a.m.): “Mildred Pierce” (1945, Michael Curtiz). With Joan Crawford, Jack Carson, Ann Blyth, Zachary Scott and Eve Arden.

Tuesday, May 13

11:30 a.m. (8:30 a.m.): “Pitfall” (1948, Andre De Toth). With Dick Powell, Lizabeth Scott, Raymond Burr and Jane Wyatt.

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