Robert Ryan author J.R. Jones to appear at Larry Edmunds Bookshop in conversation with Film Noir Blonde

Robert Ryan exuded masculinity and mystery in equal parts and he’s always been one of my favorite film noir actors. He could easily play a good guy but his forte was for those tormented, enigmatic characters, who were dark and volatile, moody and quick-tempered.

Robert Ryan book coverRemember him as an embittered vet in “Act of Violence,” (1948, Fred Zinnemann), where he co-starred with Van Heflin, Janet Leigh and Mary Astor? He made his mark the previous year as a vicious bigot in “Crossfire” (1947, Edward Dmytryk) with Robert Young, Robert Mitchum and Gloria Grahame.

He was unforgettable as the over-the-hill boxer fighting his last fight in “The Set-Up” (1949, Robert Wise) with Audrey Totter, and as the tormented cop in “On Dangerous Ground” (1952, Nicholas Ray) with Ida Lupino. In 1959, playing another bigot, Ryan again worked with Wise in the classic heist movie “Odds Against Tomorrow” which also starred Harry Belafonte, Gloria Grahame and Shelley Winters.

Not to mention “The Naked Spur,” “Bad Day at Black Rock,” “God’s Little Acre,” “Billy Budd,” “The Dirty Dozen,” The Wild Bunch” and “The Iceman Cometh.”

So, I am very excited to announce that I will be talking with Chicago-based author J.R. Jones about his new book, “The Lives of Robert Ryan,” at 12:30 p.m. on Saturday, May 16, at Larry Edmunds Bookshop in Hollywood.

“Crossfire” was the film that put Robert Ryan on the map.

“Crossfire” was the film that put Robert Ryan on the map.

According to Amazon: “The Lives of Robert Ryan” provides an inside look at the gifted, complex, intensely private man whom Martin Scorsese called “one of the greatest actors in the history of American film.”

The son of a Chicago construction executive with strong ties to the Democratic machine, Ryan became a star after World War II. … His riveting performances expose the darkest impulses of the American psyche during the Cold War.

At the same time, Ryan’s marriage to a liberal Quaker and his own sense of conscience launched him into a tireless career of peace and civil rights activism that stood in direct contrast to his screen persona. Drawing on unpublished writings and revealing interviews, film critic J.R. Jones deftly explores the many contradictory facets of Robert Ryan’s public and private lives, and how these lives intertwined in one of the most compelling actors of a generation.

Larry Edmunds Bookshop is at 6644 Hollywood Blvd., Los Angeles, CA, 90028, 323-463-3273.

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Los Angeles celebrates Orson Welles centennial

Orson Welles was born May 6, 1915.

Orson Welles was born May 6, 1915.

He hailed from the small Midwestern town of Kenosha, Wisc.

Chubby cheeked and heavy-set, he was not classically good looking. He frequently ran afoul of the Hollywood studio execs. He was considered a genius of theater, radio and film, but many of his movies were not financially successful. He had a hard time staying faithful to one woman.

His appetite was prodigious. Younger viewers might remember him as a TV spokesman for Gallo wine.

Orson Welles, who was born 100 years ago today, experienced unparalleled ups and downs over the course of his impressive career. And he is arguably the single most important influence in 20th century cinema. It’s clear that, 30 years after his death on October 10, 1985, his impact is still felt and still refracted in what we watch on the big screen. There’s been no one quite like Welles, and it’s hard to imagine someone besting him any time soon.

Touch of Evil posterIn honor of his centennial, the Crest Theater in Westwood is showing “Touch of Evil” tonight (May 6) at 7:30 p.m.

The American Cinematheque is running a series, starting Thursday, May 7, at the Aero Theatre in Santa Monica called Touch of Genius: Orson Welles at 100.

Films to be shown are: “The Lady from Shanghai,” “The Stranger,” “Citizen Kane,” “The Magnificent Ambersons,” “Chimes of Midnight,” “Othello,” “Touch of Evil” and a new documentary, “Magician: The Astonishing Life and Work of Orson Welles.” Reviews for most of these titles are on FNB — just hit the search bar on the right.

Film historian F.X. Feeney will sign copies of his new book Orson Welles: Power, Heart, and Soul and introduce each night in the series.

Feeney will also appear at a free screening of “Chimes of Midnight” at 5 p.m. Monday, May 11, at the Will & Ariel Durant Branch Library in Hollywood, 323-876-2741.

Touch of Evil” also screens at 1 p.m. on Tuesday, May 12, at Lacma’s Bing Theater.

 

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Film noir takes center stage as Summer of Darkness returns

We are super excited that Turner Classic Movies (TCM) is going dark on Fridays in June and July with the return of Summer of Darkness, film noir screenings hosted by Eddie Muller, also known as “The Czar of Noir.”

TCM Summer of Darkness 2015The Summer of Darkness programming slate will feature more than 100 noir titles making it the most extensive catalog of noirs ever presented by the network.

Summer of Darkness titles include:

Nightmare Alley poster 150·      “Nora Prentiss” (1947, Vincent Sherman), starring Ann Sheridan and Kent Smith.

·      “Born to Kill” (1947, Robert Wise), starring Lawrence Tierney and Claire Trevor.

·      “Nightmare Alley” (1947, Edmund Goulding), starring Tyrone Power, Joan Blondell, Coleen Gray and Helen Walker.

·      “Gun Crazy”(1950, Joseph H. Lewis), starring John Dall and Peggy Cummins.

·      “The Third Man” (1949, Carol Reed), starring Orson Welles, Joseph Cotten, Alida Valli and Trevor Howard.

·      “L.A. Confidential” (1997, Curtis Hanson) starring Russell Crowe, Guy Pearce and Kim Basinger.

Double Indemnity posterTCM first featured Summer of Darkness programming in the summer of 1999.

In addition to the 24-hour on-air programming, fans will also have the opportunity to experience film noir on the big screen when TCM, Fathom Events and Universal Pictures bring Billy Wilder’s 1944 noir classic “Double Indemnity,” starring Fred MacMurray and Barbara Stanwyck, to theaters across the country on July 19 and 20.

Count us in! Reviews for most of these titles are on FNB — just hit the search bar on the right.

 

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Paris Photo Los Angeles starts Friday at Paramount Studios

Stefania Fersini

Stefania Fersini

Jane O’Neal On Location in LA (To Live and Die in LA), 1984

Jane O’Neal
On Location in LA (To Live and Die in LA), 1984

William Mebane

William Mebane

This weekend you can stroll around a storied studio and see work from some of the world’s finest photographers. The third edition of Paris Photo Los Angeles runs Friday, May 1, to Sunday, May 3, at Paramount Pictures Studios in Hollywood.

Featuring exhibitors from 17 countries, Paris Photo Los Angeles shows work from nearly 80 art galleries and specialized art book dealers. In addition to still photos, moving images will be displayed.

New this year is the INTRODUCING! Young California Photographer Award, in partnership with J.P. Morgan. After the success of last year’s UNEDITED! Archives of the LAPD exhibition, the program returns with CALIFORNIA UNEDITED!: a collection of 19th Century photographs from the R.J. Arnold Archive.

The exhibition also includes a conversation series called SOUND & VISION.

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Film noir costume design and ‘Gilda’ highlighted this Saturday in Hollywood

Gilda,” arguably Rita Hayworth’s most famous role, will screen this Saturday, April 25, at the Egyptian Theatre in Hollywood. Preceding the movie, costume historian Kimberly Truhler will give a one-hour presentation called: “Femmes Fatales, Innocents and Intrigantes: Can the Costume Design of Film Noir Tell Us the Difference?” The talk will start at 2 p.m.

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‘Gilda’ shows that if you’ve got it, you might as well flaunt it

First published on FilmNoirBlonde.com on Sept. 19, 2012

“Gilda” is all about Gilda and that’s the way it should be – for any femme fatale and particularly for Rita Hayworth the most popular pinup girl of WWII, a talented entertainer and Columbia Pictures’ top female star in the mid-1940s. This 1946 movie by director Charles Vidor is essentially a vehicle for the drop-dead gorgeous Hayworth to play a sexy free spirit who lives and loves entirely in the present moment.

Longtime friends Glenn Ford and Rita Hayworth had a brief affair during the making of “Gilda.”

Hayworth revels in the sexual power she wields over any man who crosses her path, despite the fact that in post-war America a woman with a mind (and body) of her own spelled nothing but trouble. As the Time Out Film Guide points out: “Never has the fear of the female been quite so intense.” That said, the “independent” Gilda is only briefly without a husband and has to endure a lengthy punishment from her true love.

She first appears, after a devastatingly dramatic hair toss, as the wife of husband Ballin Mundson (George Macready). Suave, but aloof and asexual, Ballin runs a nightclub in Buenos Aires. Gilda passes the time plucking out tunes on her guitar and propositioning other men. Nice work if you can get it.

Enter Johnny Farrell (Glenn Ford), an American gambler who runs Ballin’s club. Johnny’s job extends to keeping an eye on Gilda when she’s carousing on the dance floor. Ballin isn’t around much because he’s off trying to form a tungsten cartel with some ex-Nazi pals. But babysitting the boss’ wife (Ballin calls her a “beautiful, greedy child”) is especially tough for Johnny because he and Gilda used to be an item and endured a bitter breakup.

Ballin (George Macready) and Johnny (Glenn Ford) have a tense relationship.

The script is laced with taunts, barbs and innuendo. For example, Gilda tells him: “Hate is a very exciting emotion, hadn’t you noticed? I hate you, too, Johnny. I hate you so much I think I’m going to die from it.” (And some see homosexual undertones in Farrell and Ballin’s relationship.)

Director Vidor, whose other films include 1944’s “Cover Girl” (also starring Hayworth), “A Farewell to Arms” and “The Joker Is Wild” (both 1957), holds his own in the noir genre. “Gilda” is a dark tale (alluding to sexual perversion and repression) and there’s some moody cinematography, courtesy of Rudolph Maté. But Marion Parsonnet’s script, despite many sharp, clever lines, doesn’t hold together and that throws off the pacing. The first third meanders along too slowly while the ending seems abrupt and slapped together.

The plot is thin and vaguely confusing – Ballin is up to no good and at one point is thought to be dead, only to turn up later at a pivotal point in Johnny and Gilda’s romance. They reunite of course and their push-pull tension is the engine that drives the story. Luckily, that tension, combined with solid direction and acting, save the movie.

(The legendary Ben Hecht is an uncredited writer on “Gilda” and if the storyline rings a bell, you might be thinking of “Notorious” also from 1946, written by Hecht, which is another story of ex-Nazis up to no good in South America. Ingrid Bergman and Cary Grant play the wary, mistrustful lovers in Alfred Hitchcock’s superior rendering of similar material.)

The chemistry between Ford and Hayworth is about as real as it gets. Longtime friends, they had a brief affair during the making of the movie. In his book, “A Life,” Glenn Ford’s son Peter writes that Vidor coached Glenn and Rita with “outrageously explicit suggestions.” Peter Ford quotes his father as saying: “[Vidor’s] instructions to the two of us were pretty incredible. I can’t even repeat the things he used to tell us to think about before we did a scene.”

Hayworth performs “Put the Blame on Mame,” choreographed by Jack Cole.

According to Peter Ford, this off-screen fling stemmed from Hayworth’s unhappy marriage to Orson Welles. The romance also drew the ire of Columbia Pictures chief Harry Cohn, who reportedly lusted after Hayworth and whom Hayworth rejected. “Gilda” was the second film Hayworth and Ford appeared in together; they worked together three more times afterward as well.

“Gilda” wasn’t a critical hit, but it proved popular with audiences, especially the famous “Put the Blame on Mame” scene.

Choreographed by Jack Cole, a bold and brilliant innovator, the number is as close to a strip tease as was possible in 1946. Hayworth was dubbed by Anita Ellis in that number, though there is some debate as to whether it’s Hayworth’s voice when she runs through the song with Uncle Pio (Steven Geray) earlier in the movie.

Though “Gilda” cemented Hayworth’s celebrity status, her fame came at a price. “Every man I’ve known has fallen in love with Gilda and wakened with me,” she said. But, despite her career ups and downs, five failed marriages and a long struggle with Alzheimer’s, she kept her sense of humor. In the 1970s, Hayworth was asked, “What do you think when you look at yourself in the mirror after waking up in the morning?” Her reply: “Darling, I don’t wake up till the afternoon.”

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‘A Perfect Man’ is an ideal start to COLCOA film festival

Last night, the COLCOA French Film Festival kicked off with a lovely reception and a screening of “A Perfect Man,” directed and co-written by Yann Gozlan.

A Perfect Man posterIn the movie, Pierre Niney plays Mathieu Vasseur, a sensitive smart loner and struggling fiction writer. When he happens to find an unpublished manuscript written by a French soldier in the Algerian War (who is now deceased), Mathieu takes a gamble and sends it to a publisher. It’s an instant success and Mathieu’s once-dismal existence is transformed, bringing him money, acclaim and the love of Alice Fursac (Ana Girardot), a beautiful and brainy literature professor who hails from a prominent family.

But three years later, Mathieu’s lies catch up with him: he’s spent all his money and he’s made zero progress on a second book. Also bothering him: a blackmailer and a nosy friend of the Fursac family. As Mathieu gets more desperate to cover his tracks (à la Patricia Highsmith’s Mr. Ripley), he turns to increasingly dire methods to hang onto his pretty illusion.

As always, the COLCOA opening-night reception was delightful.

As always, the COLCOA opening-night reception was delightful.

Granted, there are several times where “A Perfect Man” might inspire head-shaking incredulity. But I found that easy to forgive because there is so much that’s highly entertaining about the film – Niney and Girardot are just right for their parts, not to mention the luscious cinematography, shocking twists, taut pacing and gorgeous locations.

Alfred Hitchcock had a name for viewers who quibbled with the likelihood of a suspense movie’s plot points occurring in real life: The Plausibles. In his view, these nitpickers were missing the point, which was to enjoy the story’s thrills, both narratively and visually.

Of course, there needs to be some semblance of reality as well as sophistication in terms of storytelling in order to gloss over pesky points of fact. And it’s a difficult balance to maintain – some films are so compelling that it’s easy to forgive even major errors, others we dismiss completely because we just can’t buy into the film’s reality.

In the case of “A Perfect Man,” ditch your Plausibles checklist and just have a good time.

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COLCOA French fest opens and Noir City Hollywood closes

It’s a busy time for film buffs in Los Angeles.

The COLCOA French Film Festival opens tonight, Monday, April 20, with an elegant reception and the opening night film, a thriller called “A Perfect Man,” directed and co-written by Yann Gozlan and starring Pierre Niney and Ana Girardot.

Pierre Niney plays the wily writer in  “A Perfect Man.”

Pierre Niney plays the wily writer in “A Perfect Man.”

It’s a story of shifting identities as a struggling author stumbles upon a wildly unethical way to make the best-seller list.

With echoes of Patricia Highsmith’s Mr. Ripley, “A Perfect Man” strikes us as a divinely decadent way to kick off this wonderful festival, now in its 19th year.

There is much to see this year (check the COLCOA site for info on free screenings and cool events) and we are counting the days until Friday’s Film Noir Series.

The fest takes place at the Directors Guild of America, 7920 Sunset Blvd., Los Angeles, 90046.

Sunday was the closing day of an essential film fest, for noiristas and others: Noir City Hollywood, presented by the American Cinematheque in collaboration with the Film Noir Foundation. The foundation’s urbane noirphiles Eddie Muller and Alan K. Rode were on hand throughout the fest to introduce the movies. This year, they brought another excellent selection (heavy on adaptations of the great master of pulp suspense Cornell Woolrich).

The lineup included a real find: the American debut of three almost unknown but brilliantly done and stunningly visualized film noirs from Argentina: “The Black Vampire” (Roman Vinoly Barreto, 1953), a remake of Fritz Lang’s “M,” and superb adaptations of Woolrich stories in “Never Open That Door” (Carlos Hugo Christensen, 1952) and “If I Should Die Before I Wake” (Christensen, 1952).

Dorothy MacKaill lights up the screen in “Safe in Hell” (1931, William Wellman).

Dorothy MacKaill lights up the screen in “Safe in Hell” (1931, William Wellman).

The fest wrapped up with a four-movie proto-noir marathon:

The Ninth Guest” (1934, Roy William Neill) a mystery with a generous dollop of Deco glam.

Let Us Live” (1939, John Brahm) featuring the great Henry Fonda as a wrongly identified killer and a riveting performance from Maureen O’Sullivan as his girlfriend.

Heat Lightning” (1934, Mervyn LeRoy) a pre-Code delight about two sisters (Aline MacMahon and Ann Dvorak) running a garage and car-repair shop in the desert and ridding the place of rats, such as fleeing criminal and old flame (Preston Foster).

Safe in Hell” (1931, William Wellman) Dorothy MacKaill is unforgettable as a sparkling blonde siren who spends the entire movie fighting off men as she waits in vain on a Caribbean island to be with the guy she truly loves (Donald Cook).

Don Castle was a Clark Gable lookalike.

Don Castle was a Clark Gable lookalike.

My attendance was spotty this year because I had to leave town unexpectedly (such is life for a femme fatale) but my colleague Mike Wilmington caught quite a few.

Other highlights from this year’s fest were: “Woman on the Run,” “The Underworld Story,” “Abandoned,” “Circle of Danger,” “Berlin Express,” “Ride the Pink Horse,” “The Fallen Sparrow,” and “The Guilty” as well as that triple bill of Argentinian film noir.

The closing-weekend party was loads of fun, especially since I won a nifty raffle prize! I definitely needed my drink tickets that night. Why? By the small but mighty curveball in “The Guilty” when the lead character (Don Castle) reveals that he is studying “commercial geography” to land a good job.

What??? Education and hard work to get ahead? Was the movie going to start preaching about the virtues of a work ethic? Aaargh! Thankfully, this was, in fact, a temporary glitch and the character turned out to be crazy-bad.

Phew! I was freaked out there for a moment but everything was just as it should be in Noirville.

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In noirish ‘Clouds,’ Juliette Binoche and Kristen Stewart shine

At a recent press screening, several of my fellow critics and I were lamenting the lack of good movies released so far this year. It’s about time for some titles worth touting.

Clouds of Sils Maria poster with JB KSThe one standout, most of us agreed, is French writer/director Olivier Assayas’ “Clouds of Sils Maria,” a drama with neo-noir elements (set in Sils Maria, Switzerland) that revolves around a high-profile actress, exuding poise and sophistication, named Maria Enders (Juliette Binoche).

Maria’s enviable career comes full circle when she is talked into making the ultimate encore: She will return to the play that spurred her success 20 years before, though this time she will star as the older women whose life is falling apart. Cast as the luscious ingénue in this rendition is a Hollywood bad girl struggling to steer clear of the tabloids and be taken seriously as an actress (Chloë Grace Moretz). Kristen Stewart co-stars as Maria’s smart, cynical and chicly bespectacled assistant, Valentine.

We are introduced to Maria and Valentine on a train as it solemnly chugs though gorgeous mountain country and the story of these two women, a generation apart, unfolds like a long journey — freeing and claustrophobic, intimate and impersonal, destined yet random and mysterious. We see the boundaries of their intense relationship stretch, fray and then suddenly, frighteningly vanish.

“Clouds of Sils Maria,” beautifully shot, impeccably cast and confidently directed, has deservedly garnered much praise, especially for the superb performances from leads Binoche and Stewart. (Never having seen “Twilight,” I am now a big Stewart fan).

Suspenseful and sly, wistful and resonant, “Clouds” should not be missed.

Ex Machina posterMeanwhile, many reviewers have been impressed with first-time director Alex Garland’s “Ex Machina” (Garland also wrote the script). This sleek sci-fi thriller is crisply smart, coolly shot with a chilly color palette and well acted. In fact, I failed to recognize Oscar Isaac as the mad but muted scientist. Domhnall Gleeson plays a young techie who wins the chance to assess the emotional intelligence of a sexy female robot — a truly heartless femme fatale (Alicia Vikander). It sounds good and looks great but somehow the film overall felt slightly shallow and short on ideas.

Similarly, “True Story,” fails to live up to its potential, despite grisly real-life details. James Franco plays Christian Longo, an Oregon man who received the death sentence in 2003 for murdering his family. While on the run in Mexico, Longo impersonated a journalist named Mike Finkel (Jonah Hill). In need of a career boost after being fired by the New York Times for making up one of the interviewees in a magazine story, Finkel agreed to write about Longo and later published a memoir about his experience.

True Story posterFranco and Hill are compelling as is Felicity Jones as Finkel’s girlfriend. But director and co-writer Rupert Goold loses his way and the storytelling soon becomes murky.

Also, it’s a bit hard to take “True Story” seriously when it depicts the New York Times newsroom as a place where reporters raucously drink beer and play poker after submitting their stories. (Or maybe it’s just hard to take James Franco seriously after the fiasco that was “Child of God”). But it’s been a few weeks since I’ve seen it and nothing much of the movie has stuck with me. Still, there are worse ways to kill two hours.

Also drawing mixed but mostly good reviews is Levan Gabriadze’s debut feature “Unfriended,” a horror flick that takes place entirely on the small screen, ie Skype and Facebook. Shelley Hennig leads a cast of high-school friends who are harassed by a mysterious cyber-stalker. It’s a clever gimmick and the acting’s good, but other than that, “Unfriended” tells a same-old same-old story about the secrets and betrayals of teen friendships and romance.

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Film Noir File: Sit back and enjoy a night with Bogie & Bacall

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classi  c Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week: Bogie and Bacall night is Tuesday, April 7

“To Have and Have Not” was the couple’s first film together.

“To Have and Have Not” was the couple’s first film together.

Humphrey Bogart and Lauren Bacall – the King and Queen of film noir – make for a royally cool evening. First: A documentary-memoir by Bacall, followed by two of the nonpareil pair’s top shows, adapted from books by Ernest Hemingway and David Goodis. Sit back, pour yourself a cold one, and enjoy. And remember: Another vintage Bogart, “Casablanca,” plays (again Sam), Tuesday morning on TCM. (See below.)

2 a.m. (11 p.m.): “Bacall on Bogart” (David Heeley, 1988). A bio-pic gem. Baby on Bogie – and who knew him better?

3:30 a.m. (12:30 a.m.): “To Have and Have Not” (Howard Hawks, 1944).

5:15 a.m. (2:15 a.m.): “Dark Passage” (Delmer Daves, 1947).

Saturday, April 4

Marlene Dietrich

Marlene Dietrich

8 p.m. (5 p.m.): “Witness for the Prosecution” (Billy Wilder, 1957). “Witness for the Prosecution” (1957, Billy Wilder) From the famous Agatha Christie short story, Billy Wilder expertly fashions one of the screen’s trickiest trial-drama/murder mysteries – with Charles Laughton as the wily, wheelchair-bound barrister, his real-life wife Elsa Lanchester as his long-suffering nurse, and Tyrone Power and Marlene Dietrich as the incendiary couple caught up in a legendary triple-reverse surprise ending.

10:15 p.m. (7:15 p.m.): “Laura” (Otto Preminger, 1944).

12 a.m. (9 p.m.): “Klute” (Alan Pakula, 1971). Jane Fonda as a brainy hooker (her first Oscar-winning performance) being pursued by a psycho killer. Donald Sutherland plays Klute, the cop who tries to help and save her. A classy, first-class neo-noir.

Monday, April 6

“His Kind of Woman” is a tongue-in-cheek noir, down Mexico way.

“His Kind of Woman” is a tongue-in-cheek noir, down Mexico way.

1:45 a.m. (10:45 p.m.): “Macao” (Josef von Sternberg, 1952). Robert Mitchum and Jane Russell strike sultry sparks in this exotic thriller from Howard Hughes’ RKO.

Directed by Josef Von Sternberg, with uncredited reshooting by Nick Ray. Co-starring Gloria Grahame, William Bendix and Thomas Gomez.

3:15 a.m. (12:15 a.m.): “His Kind of Woman” (John Farrow, 1951). Down Mexico way, in a Hollywood-style resort, Jane Russell is his kind of woman. And Robert Mitchum is her kind of man.

Gangster Raymond Burr and overripe actor Vincent Price are our kind of heavies in this breezy, funny tongue-in-cheek noir.

Tuesday, April 7

11:45 a.m. (8:45 a.m.): “Casablanca” (Michael Curtiz, 1942).

4 p.m. (1 p.m.): “Passage to Marseille” (Michael Curtiz, 1944).

6 p.m. (3 p.m.): “Mildred Pierce” (Michael Curtiz, 1945).

The classic trio of “Casablanca.”

The classic trio of “Casablanca.”

See Pick of the Week above.

Wed., April 8

2 p.m. (11 a.m.): “Bunny Lake Is Missing” (Otto Preminger, 1965). Bunny Lake is an American child kidnapped in London, Carol Lynley her terrified mother, Keir Dullea her concerned uncle, Anna Massey her harassed teacher, Noel Coward her sleazy landlord, and Laurence Olivier the shrewd police detective trying to put the pieces of the puzzle together. The most important of those pieces: Was Bunny ever really there at all? A neglected gem; based on Evelyn Piper’s novel.

8 p.m. (5 p.m.): “La Strada” (Federico Fellini, 1954).

2 a.m. (11 p.m.): “Requiem for a Heavyweight” (Ralph Nelson, 1962).

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Noir City Hollywood kicks off with Ann Sheridan double bill

Woman on the Run posterNoir City Hollywood starts Friday at the Egyptian Theatre in Hollywood. The famed fest, now in its 17th year, kicks off with an Ann Sheridan double feature: “Woman on the Run” (1950, Norman Foster) and “The Unfaithful” (1947, Vincent Sherman).

In “Woman on the Run,” police believe Sheridan can lead them to a key witness in a San Francisco gangland killing. The snag is she doesn’t want to feed them info. The witness is her husband (Ross Elliott), but she’s done with him. To hell with helping out! Dennis O’Keefe plays an enterprising (is there any other kind?) newspaperman.

In “The Unfaithful,” Sheridan has a dalliance that leads to death. Not hers, natch. David Goodis and James Gunn wrote the script (based on W. Somerset Maugham’s “The Letter”) and set the story in Los Angeles. Featuring Zachary Scott, Lew Ayres and the always-delightful Eve Arden.

The Unfaithful posterNoir City Hollywood will screen 26 films over 12 nights! The fest, which is presented by the American Cinematheque in collaboration with the Film Noir Foundation, runs through April 19. Eddie Muller and Alan K. Rode of the Film Noir Foundation will introduce the movies.

Woman on the Run” was restored in 2014 by the Film Noir Foundation in conjunction with the UCLA Film & Television Archive. Restoration funding for “Woman on the Run” was provided by the Hollywood Foreign Press Association’s Charitable Trust through the Film Noir Foundation. “The Unfaithful” screens in a 35mm print.

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