Film Noir File: Carol Reed’s ‘Odd Man Out’ is a great Irish drama and a great thriller

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 Classic Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously and can be searched in the FNB archives (at right).

Pick of the Week

Odd Man Out” (U.K.; 1947, Carol Reed). Tuesday, March 17, 8 p.m. (5 p.m.).

Carol Reed’s 1947 British thriller “Odd Man Out” is one of the great suspense dramas and one of the great film noirs. It’s an Irish odyssey that wrings every drop of tension from its subject. It’s also a story of love and death that plunges you into deepest night, and cracks your heart as you watch it.

James Mason always considered Johnny his best performance,

James Mason always considered Johnny his best performance,

The film revolves around Irish revolutionary Johnny McQueen, played by James Mason in a near-perfect performance.

As the film follows its dying protagonist – shot during an I. R. A. bank robbery and desperately trying to make his way to safety while being hunted by both the police and his friends – it creates an indelible portrait of a city at night, populated by a gallery of unforgettable characters.

That city is Belfast, though it’s never named as such. It’s a metropolis torn into bloody fragments, yet also seething with humanity, humor, embattled faith, bloody conflict and mad poetry. The city is stunningly photographed in rich blacks and ivory whites by cinematographer Robert Krasker in nearly the same palette he and Reed later used for 1949’s “The Third Man.”

Mason’s Johnny is not a naturally violent outlaw, but an idealist who is simply trying to hold onto life.  The wounded IRA man runs a gauntlet of terror, escaping from the bank where he was shot, wandering from place to place, from homes to bars to city scrapheaps, constantly a fugitive, sometimes helped, often recognized, safe only for fleeting moments.

Kathleen Ryan plays Johnny’s love interest.

Kathleen Ryan plays Johnny’s love interest.

Johnny’s main contacts are his lover Kathleen (Kathleen Ryan), also loved by the stern police inspector (Denis O’Dea) on Johnny’s trail; the elderly, frail, art fancier Father Tom (W. G. Fay); and an opportunistic little man named Shell (F. J. McCormick), who lives in an attic with two fellow eccentrics – Robert Newton as the alcoholic painter Lukey, and Elwyn Brooke-Jones as the failed medical student Tober.

Johnny’s suffering keeps bringing out the best and the worst in the people he encounters. The first act of “Odd Man Out” is a near-Hitchcockian masterpiece of suspense. The final act hits a mixture of irony, poignancy and terror that few films reach.

Mason always considered Johnny his best performance, and it may well be – though other Mason performances are in the same class: Humbert Humbert in “Lolita,” Norman Maine in “A Star is Born,” Ed Avery in “Bigger Than Life,” Trigorin in “The Sea Gull” and Sir Randolph in “The Shooting Party.” McCormick’s Shell is a magnificent portrayal as well – beautifully restrained and sly, full of fallibility, weakness and a near-demonic will. You’ll never forget Shell even if you didn’t know or won’t remember this superb actor’s name.

The script, a gem, was adapted from his bestselling novel by F. L. Green, who was born in England and died (in 1949) in Belfast, and playwright R. C. Sherriff (“Journey’s End”). It was produced and directed by Reed, then at the peak of his powers as a filmmaker.

If you’ve never seen “Odd Man Out,” try to catch it this time: a great Irish drama and film noir, a great Carol Reed film and James Mason performance, and a great story of suffering and redemption, while running and hiding in Belfast, city of night.

Saturday, March 14

Killer's Kiss poster7 a.m. (4 a.m.): “Killer’s Kiss” (Stanley Kubrick, 1955).

8:15 a.m. (5:15 a.m.): “The Big Clock” (John Farrow, 1948).

12 a.m. (9 p.m.): “Dead End” (William Wyler, 1937).

2 a.m. (11 p.m.). “The Town that Dreaded Sundown” (Charles B. Pierce, 1976). Based on fact, this indie low-budget movie about a Texas serial killer influenced a host of less factual slasher movies later on. With Ben Johnson and Dawn Wells.

3:30 a.m. (12:30 a.m.): “In Cold Blood” (Richard Brooks, 1967).

Monday, March 16

10 a.m. (7 a.m.): “Fury” (Fritz Lang, 1936).

11:45 a.m. (8:45 a.m.): “Saboteur” (Alfred Hitchcock, 1942).

1:45 p.m. (10:45 a.m.) “The Wages of Fear” (Henri-Georges Clouzot, 1953). One of the greatest of all suspense films, this legendary French shocker is Clouzot’s nerve-rending account of four expatriate drivers trying to escape a horrible little South American backwater by driving two truckloads of nitroglycerin to a burning oil field over dangerous mountain roads.

A masterpiece of dark cynicism and blazing suspense, it’s even tenser and scarier than Clouzot’s more famous thriller “Diabolique.” The film boasts an incredible script (by Clouzot and Jerome Geronimi, from Georges Arnaud’s novel), amazing camerawork and razor-sharp editing. There’s also a fantastic cast: Yves Montand, Charles Vanel, Peter Van Eyck, Folco Lulli, Daniel Gelin and the director’s long-suffering wife, Vera Clouzot.

“You sit there, waiting for the theater to explode!” claimed the 1954 American theater ads, and they weren’t far wrong. William Friedkin’s 1977 remake “Sorcerer,” with Roy Scheider, though a fine, underrated film, pales by comparison. (French, with subtitles.)

Also available from Criterion in DVD and Blu-ray with a documentary as well as interviews with Montand and others.

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Celebrate Joan Crawford’s birthday at Laemmle’s NoHo 7

See “Possessed” & “What Ever Happened to Baby Jane?” on the big screen!

Laemmle NoHo7 - 140Laemmle Theatres and Film Noir Blonde are pleased to present a double feature on Monday, March 23, at Laemmle’s NoHo 7, to mark Joan Crawford’s birthday.

A gifted actress and the ultimate movie star, Joan Crawford found that by the mid-1940s, her career had stalled. She restarted it with the help of film noir, namely 1945’s “Mildred Pierce,” by director Michael Curtiz, for which she won the Best Actress Oscar. Whether she played a tough broad or a lady in distress, Crawford was especially well suited for the genre’s expressionistic intensity. She starred in many film-noir titles between 1945 and 1962.

Possessed movie poster -- 140What Ever Happened to Baby Jane poster - SmallerOn Monday, March 23, Laemmle’s NoHo 7 will pay tribute to her legacy with a special double bill from Warner Bros.: “Possessed” (1947, Curtis Bernhardt) and “What Ever Happened to Baby Jane?” (1962, Robert Aldrich).

The program will start at 7:30 p.m., with “Possessed” and “What Ever Happened to Baby Jane?” at 9:55. Tickets are $11 each, $15 for the double feature.

There will be a special birthday cake for Ms. Crawford’s fans and Warner Bros. Archive will provide select prizes. Laemmle’s NoHo 7 is at 5240 Lankershim Blvd., North Hollywood, CA 91601, 818-762-4600. Laemmle’s main number is 310-478-3836.

Film Noir Blonde

Film Noir Blonde

Joining the party will be Jacqueline Fitzgerald, founder and editor of FilmNoirBlonde.com. Fitzgerald will introduce the movies.

In “Possessed” (also starring Van Heflin and Raymond Massey) Crawford gives a memorable performance as a woman who can’t get over a bad relationship. In “What Ever Happened to Baby Jane?” she is Blanche Hudson, a once-glamorous Hollywood actress who lives with her demented sister (Bette Davis), a former child star.

Full reviews are available here:

“Possessed” http://bit.ly/1saxBHV

“Whatever Happened to Baby Jane?” http://bit.ly/1z7ctQ7

 

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Film Noir File: Hitchcock’s ‘Psycho’ still gives us chills

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 Classic 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).

Anthony Perkins and Janet Leigh star in “Psycho.”

Anthony Perkins and Janet Leigh star in “Psycho.”

Pick of the Week

Psycho”(1960, Alfred Hitchcock). Saturday, March 7, 4:15 p.m. (1:15 p.m.)

Saturday, March 7

2 p.m. (11 a.m.): “A Face in the Crowd” (1957, Elia Kazan).

6:15 p.m. (3:15 p.m.): “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964, Stanley Kubrick).

Sunday, March 8

Gun Crazy poster narrow8:30 a.m. (5:30 a.m.). “Gun Crazy” (1950, Joseph H. Lewis).

4:30 p.m. (1:30 p.m.): “The Defiant Ones” (1958, Stanley Kramer).

Tuesday, March 10

8 p.m. (5 p.m.): “A Place in the Sun” (1951, George Stevens).

Wednesday, March 11

6 a.m. (3 a.m.): “Stage Fright” (1950, Alfred Hitchcock).

8 a.m. (5 a.m.): “Ministry of Fear” (1944, Fritz Lang).

9:45 a.m. (6:45 a.m.): “Lured” (1947, Douglas Sirk).

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Celebrate Women in Film Noir: Saturday at the Durant Library

Patricia Highsmith

Patricia Highsmith

Did you know:

* A woman named Czenzi Ormonde co-wrote the script for “Strangers on a Train” (1951, Alfred Hitchcock). The film was based on Patricia Highsmith’s first novel, published in 1950.

* In the early days of Hollywood, film editors, or cutters as they were known, were mostly women. The job was considered menial labor and on-screen credit was rare.

* In a Lonely Place” (1950, Nicholas Ray) was the third movie based on a novel by Dorothy B. Hughes. The others were: “The Fallen Sparrow,” (1943, Richard Wallace) and “Ride the Pink Horse,” (1947, Robert Montgomery).

Come out and learn more at 1 p.m. on Saturday, March 7, at the Will & Durant Library in Hollywood. I will be talking about women’s contributions to film noir in honor of Women’s History Month. The Durant Library will be showing films on March 9, 16, 23. See my post from Feb. 24 (below) for more details.

The Durant Library is at 7140 W. Sunset Blvd. (one block west of La Brea), Los Angeles, CA 90046, 323-876-2741.

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UCLA’s Preservation Fest to screen ‘Too late for Tears’ and ‘The Guilty’ as part of monthlong run of restored films

The LA TimesKenneth Turan recently gave high praise indeed to the UCLA Film & Television Archive’s Festival of Preservation.

Too Late for Tears posterThe Guilty posterAs he put it: “Forget Cannes, Sundance, even the Oscars: This is the cinematic event I look forward to most of all. That’s because no other movie festival comes close to it in the magnificent breadth of neglected but compelling American film material it puts on display.”

Hmm. Forget Sundance? Sure. Forget the Oscars? Done. But Cannes? Not so much. That said, however, I am also very much looking forward to UCLA’s terrific monthlong lineup, which begins on March 5 with Anthony Mann’s “Men in War.” This year marks the 17th edition of the festival.

For noir fans, the double feature on Saturday, March 7, should not be missed. It starts at 7:30 p.m.

In “Too Late for Tears” (1949, Byron Haskin), noir badness bursts from the screen as Lizabeth Scott plays a housewife who comes across a suitcase stuffed with $60,000 in cash. Scott seizes the chance to say goodbye to cooking meatloaf, washing dishes and doing laundry. Duh! Besides, it turns out that she’s a much better murderess than she was a homemaker. Arthur Kennedy plays her husband and the always-great Dan Duryea shines as a private eye.

Next up is “The Guilty” (1947, John Reinhardt), based on a short story by Cornell Woolrich. Here, Don Castle and Wally Cassell are lured into trouble by Bonita Granville, who plays twin sisters, one good and one bad, natch. When the nice girl is found murdered, both men are under suspicion. “The Guilty” is reminiscent of Robert Siodmak’s “The Dark Mirror” from 1946.

Film historian Alan K. Rode will discuss the films.

Films will be screened at the Hammer Museum’s Billy Wilder Theater in Westwood.

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Classic ‘Rashomon’ kicks off Kurosawa tribute at the Crest

By Mike Wilmington

Akira Kurosawa of Japan is the “sensei” (or master): a genius of filmmaking and the father of the modern action-adventure movie.

Rashomon poster largeHe was one of the three giants of the Japanese Cinema’s Golden Age (with Yasujiro Ozu and Kenji Mizoguchi). He was also a devotee of American action cinema, of film noir and of American Westerns, especially the films of his friend and mentor John Ford.

Kurosawa pioneered an explosive, ingenious cinematic style of multiple camera use and rapid-fire editing that went beyond Ford and revolutionized action moviemaking, enormously influencing Sam Peckinpah (“The Wild Bunch”), Arthur Penn (“Bonnie and Clyde”), Sergio Leone (“A Fistful of Dollars,” a remake of “Yojimbo”), John Sturges (“The Magnificent Seven,” a remake of “Seven Samurai”), Don Siegel (“Dirty Harry”), Clint Eastwood (“The Outlaw Josey Wales”) and many others.

High and Low posterBut Kurosawa’s incandescent scenes of violence do not exist in a moral void. Instead, the sensei’s films are infused with a truly adult and humane perspective on life, a mature observation of character and humanity, and a deep sense of the tragedy that faces us all.

Kurosawa has his cinematic peers: Bergman, Fellini, Renoir, Hitchcock, Welles. But he has no superiors, not even his idol John Ford. His films are, like Kurosawa himself, matchless.

You can see five of them on the big screen at the Crest Theater in Westwood during a monthlong tribute to Akira Kurosawa as a part of their salute to foreign filmmakers. The theater will screen one of Kurosawa’s samurai classics every Sunday at 5 p.m. The schedule is as follows:

Sunday, March 1: “Rashomon” – 1950 (1 hr. 28m) The legendary classic about four contradictory views of a murder: the film masterpiece that put Kurosawa, and Japanese cinema, on the international map.

Seven Samurai poster

Seven Samurai poster

Sunday, March 8: “The Hidden Fortress” – 1958 (2 hr. 6m) The most comical of Kurosawa’s samurai adventure epics, about a warrior who helps rescue a princess. One of the films that most inspired  “Star Wars.”

Sunday, March 15: “High and Low” – 1963 (2 hr. 23m) Inspired by an American crime novel by Ed McBain, this great film noir is about a kidnapping and a businessman who will lose everything if he pays the ransom.

Sunday, March 22: “Yojimbo” – 1961 (1 hr. 50m) The great samurai film, revolving around a cynical warrior who plays both sides in a town feud against each other.

Sunday, March 29: “Seven Samurai” – 1954 (3 hr. 27m) Seven gutsy independent samurai, led by an idealistic veteran warrior, defend a village against vicious marauding bandits. One of the greatest and most exciting films ever made.

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Film Noir File: Your passport to Coen Bros.’ neo-noir ‘Country’

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 Classic 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

No Country posterNo Country for Old Men” (2007, Joel and Ethan Coen). Tuesday, March 3, 12:30 a.m. (9:30 p.m.)

The Coen Brothers’ most praised and prized movie, and one of their most memorable, is the grim, mesmerizing crime-drama/chase-thriller “No Country for Old Men.” The multiple-Oscar winning film is adapted, very faithfully, from one of Cormac McCarthy‘s darkest and most violent novels.

Set in 1980s Texas, in an anti-John Ford Western land of harsh plains and searing deserts, barren cities and the hot, speedy roads that connect all of them, the movie is about a huge cache of illegal drug money that falls into the hands of a local cowboy-hatted small-towner named Moss (Josh Brolin) after a massacre wipes out most of the criminals and smugglers handling the transfer.

Unfortunately, there’s one deadly efficient collector still around: the incredible Javier Bardem as Anton Chigurh a.k.a. Sugar, a terrifying psychopathic killer with a seemingly permanent dour deadpan stare, a laughably lousy haircut and a relentless talent for finding the right people in all the wrong places – and sending them to the hell that surely must have spawned him.

There are other terrific actors (playing terrific roles) in “No Country,” namely Tommy Lee Jones as Ed Tom Bell, a melancholy old sheriff watching his world disintegrate, Bell’s lonely old friend (Barry Corbin), Moss’s steadfast but unlucky wife (Kelly MacDonald) and a lippy, freelance loot-scavenger (Woody Harrelson).

Texas. Tough guys. Epic bad hairstyling. Enjoy your visit to this ‘Country.’ Or else.

Saturday, Feb. 28. Thriller Day

6 a.m. (3 a.m.): “The Window” (1949, Ted Tetzlaff).

7:15 a.m. (4:15 a.m.): “Night Must Fall” (1937, Richard Thorpe).

9:15 a.m. (6:15 a.m.): “Kind Lady” (1951, John Sturges).

10:45 a.m. (7:45 a.m.): “Wait Until Dark” (1967, Terence Young).

12:45 p.m. (9:45 a.m.): “The Narrow Margin” (1952, Richard Fleischer).

2 p.m. (11 a.m.): “Strangers on a Train” (1951, Alfred Hitchcock).

3:45 p.m. (12:45 p.m.): “Shadow of a Doubt“ (1943, Alfred Hitchcock).

Sunday, March 1

Chicago poster10:15 p.m. (7:15 p.m.): “Chicago” (2002, Rob Marshall). This strange, Oscar-winning hybrid is, of all things, a neo-noir crime courtroom musical. It’s based on the jazzy, snazzy Broadway show by songsmiths Kander and Ebb (of “New York, New York”) and director Bob Fosse, which in turn was based on the classic 1942 film noir “Roxie Hart” by writer-producer Nunnally Johnson and director William Wellman.

The story is as cynical as, well, a ’20s Chicago newspaper guy on deadline. Wannabe star showgirl Roxie (Renee Zellweger in the old Ginger Rogers role) schemes to become famous by committing a near-murder and generating a sensational trial. John C. Reilly is her hapless hubby, Richard Gere is her flashy lawyer, and Catherine Zeta-Jones (an Oscar winner here) steals the whole damned show as another would-be murderess and Roxie’s inspiration. This is a good, splashy, nasty neo-noir, but you can’t help wondering about the movie the late Bob Fosse might have made out of it.

Wednesday, March 4

12 p.m. (9 a.m.): “Dementia 13” (1963, Francis Ford Coppola).

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Film Noir Blonde, Durant Library celebrate Women in Film Noir

I am very pleased to announce that I have programmed a series for the Will & Ariel Durant Library in Hollywood called Women in Film Noir. The series runs in March to honor Women’s History Month. We are highlighting women’s contribution to the genre at a time when there were many barriers to working outside the home.

Ida Lupino juggled work and family. Shown: Ida with her husband Howard Duff and daughter Bridget.

Ida Lupino juggled work and family. Shown: Ida with her husband Howard Duff and their daughter, Bridget, who was born in 1952.

The library will screen five films, starting March 2.

I will be giving a talk at the library at 1 p.m.  Saturday, March 7. The opening night double feature is a spotlight on Ida Lupino, actress, director, writer and producer.

5 p.m. March 2: “On Dangerous Ground” (1951, 82 min.): Ida Lupino plays a blind country girl who lives with her brother. She meets a psychologically scarred cop (Robert Ryan) when her brother becomes a suspect in a murder. With a taut script by A. I. Bezzerides (“Kiss Me Deadly”) and moody, poetic direction from Nicholas Ray, “On Dangerous Ground” is an unforgettable film noir.

Nightmare Alley poster 214The Hitch-Hiker” (1953, 71 min.): Fate isn’t smiling when two guys on vacation give a lift to a man who turns out to be serial killer. “The Hitch-Hiker,” starring Edmond O’Brien, Frank Lovejoy and William Talman, is the only classic film noir directed by a woman, the great Ida Lupino. Best known as an actress, Lupino was also a director, writer and producer. She co-wrote “The Hitch-Hiker.”

5 p.m. March 9: “Nightmare Alley” (1947, 110 min.) A film noir set in the seedy world of a carnival, “Nightmare Alley” tracks an ambitious performer (Tyrone Power) as he pursues a better life. Crucial to his rise and fall are three women: Joan Blondell, Coleen Gray and Helen Walker. Unusual for time, Walker plays an upper-class working woman who is not a teacher, nurse or secretary.

Based on William Lindsay Gresham’s novel and directed by Edmund Goulding, “Nightmare Alley” is unusually cerebral and rich with subtext. Also unusual for that time: Barbara McLean served as editor – by 1947, many women had been pushed out of film editing jobs, despite the fact that in the early days of the industry they dominated that function.

In a Lonely Place poster5 p.m. March 16:  “Strangers on a Train” (1951, 101 min.) With standout performances from Robert Walker and Farley Granger, “Strangers” stands as an excellent example of Alfred Hitchcock’s subversive casting. The film is based on the novel of the same name by master of suspense Patricia Highsmith. Czenzi Ormonde (aka Gladys Lucille Snell) co-wrote the script with Raymond Chandler. Pat Hitchcock plays a small but memorable part.

5 p.m. 23: In a Lonely Place” (1950, 94 min.) Based on a novel by Dorothy B. Hughes, “In a Lonely Place” tells the story of a screenwriter (Humphrey Bogart) and an actress (Gloria Grahame) who live in the same Hollywood apartment building and fall in love. All is not well, however, when it seems the writer might also be a deranged killer. Masterfully directed by Nicholas Ray and edited by Viola Lawrence, sometimes called “Hollywood’s first lady film cutter.”

The Durant Library is at 7140 W. Sunset Blvd. (one block west of La Brea), Los Angeles, CA 90046, 323-876-2741.

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Skirball Cultural Center screens ‘Cinema’s Exiles: From Hitler to Hollywood’

The exhibitions close on Sunday, March 1.

The exhibitions close on Sunday, March 1.

Time flies, that’s for sure. The Skirball Cultural Center’s superb exhibitions Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950 and The Noir Effect, which began last October, will close Sunday, March 1.

The closing day (March 1) is an ideal opportunity to head up to the Skirball. That way you can see “Cinema’s Exiles: From Hitler to Hollywood,” a 2009 PBS documentary about members of the German film industry who left Europe and re-created their careers in Los Angeles, forever changing the way American movies were made. More than 800 filmmakers fled the Nazis; some found great success in the U.S., but others were less fortunate. Sigourney Weaver narrates the movie.

Film excerpts include: “The Bride of Frankenstein,” “Fury,” “Ninotchka,” “To Be or Not To Be,” “Casablanca,” “The Wolf Man,” “Double Indemnity,” “Phantom Lady,” “Sunset Blvd.,” “High Noon,” “The Big Heat” and “Some Like It Hot.” Also covered will be classics of early German cinema, including “The Cabinet of Dr. Caligari,” “Metropolis,” “The Blue Angel” and “M.”

Additionally, “Cinema’s Exiles” features behind-the-scenes archival footage of director Fritz Lang in Germany and Marlene Dietrich’s “Blue Angel” screen test as well as home-movie footage and photographs. Eyewitness accounts of this era are provided by screen actress Lupita Kohner, author Peter Viertel and (via archive statements) Lang, Billy Wilder and Fred Zinnemann, among others.

“Cinema’s Exiles: From Hitler to Hollywood” (90 min.) will start at 11 a.m. Sunday. It is free with museum admission. Museum tickets are available at the door.

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Favorite film noir Oscar moments

I wasn’t terribly impressed with last night’s Oscar ceremony. Long and not very funny, for the most part. But, I enjoyed Richard Brody’s assessment in The New Yorker and present you with these golden moments from Oscars past.

Generally speaking, film-noir titles were not wildly popular with Academy voters. Certainly, a B picture stood little chance of being honored. Film noir movies with bigger budgets and brighter star power might have earned nominations but ultimately lost the Oscar. That said, one category in which film-noir talent held its own was writing.

The Academy recognized that fact in 2010 with its excellent Oscar Noir screening series, which celebrated film-noir classics from the 1940s, all of which were nominated in the writing categories. You can see clips from the series and learn more about the Oscars’ history at www.oscars.org. It’s a terrific resource. While there, I also found out about a quintessential 1940s woman who had a hand in shaping the ceremony as we know it today: Margaret Herrick. Read more about her here.

Joan Fontaine, sitting with David O. Selznick, Alfred Hitchcock and Alma Hitchcock at the 1941 ceremony, starred in

Joan Fontaine, sitting with David O. Selznick, Alfred Hitchcock and Alma Hitchcock at the 1941 ceremony, starred in “Rebecca,” though she lost the gold to Ginger Rogers. “Rebecca” won Best Picture and Best Cinematography. Fontaine claimed the Oscar the next year in Hitchcock’s “Suspicion.” In the 1941 show, President Franklin D. Roosevelt gave a six-minute, direct-line radio address from the White House, honoring the work of Hollywood. This was the first time an American president had participated in an Academy Awards evening. Also, for the first time, the names of all the winners were kept secret until they were announced during the ceremony. Hitchcock received an honorary Oscar in 1968.

Humphrey Bogart, Ingrid Bergman and Michael Curtiz on the set of "Casablanca," which snared the gold in 1944. The film was released in late 1942 and competed with titles from 1943.

Humphrey Bogart, Ingrid Bergman and Michael Curtiz on the set of “Casablanca,” which snared the gold in 1944. The film was released in late 1942 and competed with titles from 1943.

Joan Crawford triumphed playing the title role in 1945's "Mildred Pierce." Director Michael Kurtiz accepted the award at the ceremony because Crawford was ill and confined to bed. Clearly, she perked up when she found out she won.

Joan Crawford triumphed playing the title role in 1945′s “Mildred Pierce.” Director Michael Kurtiz accepted the award at the ceremony because Crawford was ill and confined to bed. Clearly, she perked up when she found out she won.

Ray Milland holds his Best Actor Oscar. He won for his portrayal of an alcoholic writer in Billy Wilder's "The Lost Weekend" from 1945. The film also won Best Picture, Best Director and Best Screenplay, a rare feat for such a noirish flick.

Ray Milland holds his Best Actor Oscar. He won for his portrayal of an alcoholic writer in Billy Wilder’s “The Lost Weekend” from 1945. The film also won Best Picture, Best Director and Best Screenplay, a rare feat for such a noirish flick.

"All the King's Men," a political noir from 1949, garnered Best Picture, Best Actor for Broderick Crawford and Best Supporting Actress for Mercedes McCambridge. The gold winners savor the moment with director Robert Rossen.

“All the King’s Men,” a political noir from 1949, garnered Best Picture, Best Actor for Broderick Crawford and Best Supporting Actress for Mercedes McCambridge. The gold winners savor the moment with director Robert Rossen.

Eva Marie Saint took home the Best Supporting Actress for  "On the Waterfront" from 1954. "On The Waterfront" also won Best Picture, Best Actor (Marlon Brando), Black-and-White Art Direction-Set Decoration, (Richard Day), Black-and-White Cinematography (Boris Kaufman), Directing (Elia Kazan), Film Editing (Gene Milford), and Writing – Story and Screenplay (Budd Schulberg).

Eva Marie Saint took home the Best Supporting Actress Oscar for
“On the Waterfront” from 1954. “On The Waterfront” also won Best Picture, Best Actor (Marlon Brando), Black-and-White Art Direction-Set Decoration, (Richard Day), Black-and-White Cinematography (Boris Kaufman), Directing (Elia Kazan), Film Editing (Gene Milford), and Writing – Story and Screenplay (Budd Schulberg).

Grace Kelly won the Best Actress gold for 1954's "Country Girl." I know, I know, it's not a noir but Kelly was one of Hitchcock's favorite blondes, she's shown with co-star William Holden (mmm) and I love the dress. Kelly quit acting in 1955 to marry Prince Rainier.

Grace Kelly won the Best Actress gold for 1954′s “Country Girl.” I know, I know, it’s not a noir but Kelly was one of Hitchcock’s favorite blondes, she’s shown with co-star William Holden (mmm) and I love the dress. Kelly quit acting in 1955 to marry Prince Rainier.

The RKO Pantages Theatre hosted many Oscar ceremonies. The 31st Academy Awards ceremony, held on April 6, 1959, ended 20 minutes early, after producer Jerry Wald cut numbers from the show to make sure it ran on time. Host Jerry Lewis was left to fill up the time.

The RKO Pantages Theatre hosted many Oscar ceremonies. The 31st Academy Awards ceremony, held on April 6, 1959, ended 20 minutes early, after producer Jerry Wald cut numbers from the show to make sure it ran on time. Host Jerry Lewis was left to fill up the time.

Billy Wilder juggles Oscars snared by his dark comedy "The Apartment," which won Best Picture, Best Black-and-White Art Direction-Set Decoration (Alexander Trauner and Edward G. Boyle), Directing (Billy Wilder), Film Editing (Daniel Mandell), and Writing – Story and Screenplay written directly for the screen (Billy Wilder and I.A.L. Diamond).

Billy Wilder juggles Oscars snared by his dark comedy “The Apartment,” which won Best Picture, Best Black-and-White Art Direction-Set Decoration (Alexander Trauner and Edward G. Boyle), Directing (Billy Wilder), Film Editing (Daniel Mandell), and Writing – Story and Screenplay written directly for the screen (Billy Wilder and I.A.L. Diamond).

Eight-time Costume Design winner Edith Head was costume supervisor for the 40th (1967) Academy Awards and offered her fashion tips in the letter above. Also seen above are presenter Leslie Caron and Best Director winner Mike Nichols.

Eight-time Costume Design winner Edith Head was costume supervisor for the 40th (1967) Academy Awards and offered her fashion tips in the letter above. Also seen above are presenter Leslie Caron and Best Director winner Mike Nichols.

"The French Connection," a neo-noir from1972, won Best Picture. The film also won Academy Awards for Best Actor (Gene Hackman), Directing (William Friedkin), Film Editing (Jerry Greenberg), and Writing – Screenplay based on material from another medium (Ernest Tidyman).

“The French Connection,” a neo-noir from 1971, won Best Picture. The film also won Academy Awards for Best Actor (Gene Hackman), Directing (William Friedkin), Film Editing (Jerry Greenberg), and Writing – Screenplay based on material from another medium (Ernest Tidyman).

"The Godfather" (1972) cast members: Maron Brando, James Caan, Al Pacino and xx. The classic family-crime saga won Best Picture. The movie also won Best Actor (Marlon Brando) and Writing – Screenplay based on material from another medium (Mario Puzo and Francis Ford Coppola). “The Godfather Part II" (1974) became the first sequel to win the award for Best Picture. Part Two claimed five more Oscars including the directing prize for Coppola.

“The Godfather” (1972) cast members: Al Pacino, Marlon Brando, James Caan, and John Cazale. The classic family-crime saga won Best Picture. The movie also won Best Actor (Marlon Brando) and Writing – Screenplay based on material from another medium (Mario Puzo and Francis Ford Coppola). “The Godfather Part II” (1974) became the first sequel to win the award for Best Picture. Part Two also claimed five more Oscars including the directing prize for Coppola.

Robert Towne, Jack Nicholson and producer Robert Evans at the 1975 Oscars ceremony. Towne took home the Oscar for writing "Chinatown," perhaps the best neo-noir script ever written.

Robert Towne, Jack Nicholson and producer Robert Evans at the 1975 Oscars. Towne took home the Oscar for writing “Chinatown,” perhaps the best neo-noir script ever written.

Robert DeNiro gives accepts his Best Actor Oscar for "Raging Bull" (1980) directed by Martin Scorsese, who grew up on classic noir and became a neo-noir master. The oft-subbed Scorsese finally won the directing gold for 2007's "The Departed."

Robert DeNiro accepts his Best Actor Oscar for “Raging Bull” (1980) directed by Martin Scorsese, who grew up on classic noir and became a neo-noir master. The oft-snubbed Scorsese finally won the directing gold for 2006′s “The Departed.” This was DeNiro’s second Oscar, having garnered Best Supporting Actor for “The Godfather Part II.”

During his fourth decade in the movies, Jack Palance won Supporting Actor for his role as Curly in "City Slickers" (1991). His famous one-handed pushups onstage became a running joke with host Billy Crystal throughout the show. Our favorite Palance film-noir part: "Sudden Fear" (1952, David Miller) in which he co-starred with Joan Crawford and Gloria Grahame.

During his fourth decade in the movies, Jack Palance won Supporting Actor for his role as Curly in “City Slickers” (1991). His famous one-handed pushups onstage became a running joke with host Billy Crystal throughout the show. Our favorite Palance film-noir part: “Sudden Fear” (1952, David Miller) in which he co-starred with Joan Crawford and Gloria Grahame.

Quentin Tarantino and Roger Avary won the Oscar for writing "Pulp Fiction" (1994). It earned six other noms.

Quentin Tarantino and Roger Avary won the Oscar for writing “Pulp Fiction” (1994). It earned six other noms.

Frances McDormand hold her Best Actress Oscar for her work in 1996's "Fargo." Writer/director team Joel and Ethan Coen won for Best Original Screenplay. They went on to win writing and directing Oscars for 2007's "No Country for Old Men."

Frances McDormand hold her Best Actress Oscar for her work in 1996′s “Fargo.” Writer/director team Joel and Ethan Coen won for Best Original Screenplay. They went on to win writing and directing Oscars for the 2007 neo noir “No Country for Old Men.”

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