Beatty and Penn make ‘Mickey One’ an arty nightmare

May 22, 2013 By Leave a Comment

By Mike Wilmington and Film Noir Blonde

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 

“Mickey One” (1965, Arthur Penn). Friday, May 24, 12:30 a.m.  (9:30 p.m.)

In “Mickey One,” Warren Beatty plays a Chicago comic who has angered the mob.

The man on the run in “Mickey One,” Arthur Penn’s and Warren Beatty’s nightmare of a 1965 neo-noir, is a Chicago standup comedian  trapped in an urban world of disorientation and fear. It’s one of Beatty’s most offbeat roles: a smart-ass hipster Lenny Bruce type who’s  gotten on the mob’s list for  a transgression  that he doesn’t remember (that possibly doesn’t even exist) and now feels himself in danger every time he walks out on stage. Mickey is a prototypical film noir outsider, lost in the big city night, in a darkness interrupted by neon guideposts to Hell.

Donna Michelle

Around the terrified comedian is a gallery of bizarre characters who might have been assembled for some noirish Wonderland:  Hurd Hatfield (who once played Dorian Gray) as a devious club owner, Franchot Tone as Mickey’s elderly mentor, Alexandra Stewart as the girl who loves him (maybe), Playboy Playmate-of-the-Year Donna Michelle as the babe of babes, Teddy Hart as Mickey’s pint-size agent-manager, Jeff Corey as a club guy, and Kamatari Fujiwara (who was one of the two squabbling peasants in  Kurosawa’s “The Hidden Fortress”) as a conceptual artist.

This neglected film, written by Alan M. Surgal, is one of the artiest and most experimental of all ‘60s black-and-white neo-noirs. And though Surgal’s script is pretentious to a fault, “Mickey One” is beautifully made, a classic of ‘60s razzle-dazzle film technique – often more reminiscent of  early ‘60s foreign art film style than anything out of the Hollywood mainstream.

The movie was stunningly photographed by Ghislain Cloquet, who shot some of the French film masterpieces of Alain Resnais (“Night and Fog”) and Robert Bresson (“Au Hasard Balthazar”).  And the picture has one of the finest jazz scores in the movies, written and orchestrated by Eddie Sauter and improvised by saxophone genius Stan Getz.

One thing “Mickey One” doesn’t have is funny jokes. Mickey’s act couldn’t make a hyena laugh. But maybe that’s the point. The next time Penn and Beatty got together, it was to make “Bonnie and Clyde“ (1967), which does have funny jokes, as well as  violence and beauty. Here, the director and his star may fail, but they fail grandly, with ambition, daring, style and images that stay in your head.

Wednesday, May 22

3:30 p.m. (12:30 p.m.): “The Blue Gardenia” (1953, Fritz Lang), Working girl Anne Baxter lets her guard down and gets mixed up in the murder of slimy Raymond Burr. (As the girls in “Chicago” say, “He had it coming.”)  The rest of the lineup includes Ann Sothern, Nat King Cole and George “Superman” Reeves. Not Lang’s best, but you won’t want to miss it anyway.

10:30 p.m. (7:30 p.m.): “The Outfit” (1973, John Flynn).  Here’s another adaptation of one of Donald Westlake’s (alias “Richard Stark’s”) ultra-hard-boiled “Parker” novels – the series that inspired “Point Blank.” This time, Robert Duvall plays the “Parker” character, and just as unstoppably as Lee Marvin did. Out to avenge his brother, aided (maybe) by Karen Black and Joe Don Baker, Duvall is up against villain Robert Ryan. The  stellar noir cast includes Timothy Carey, Marie Windsor, Jane Greer, Richard Jaeckel, Sheree North and Elisha Cook, Jr. The movie is underrated too. You’ll be surprised at how good it is – unless you look over that cast list again.

Saturday, May 25

4:30 a.m. (1:30 a.m.)  “Foreign Correspondent” (1940, Alfred Hitchcock). With Joel McCrea, Laraine Day, and George Sanders. Reviewed on FNB February 20, 2013.

Tuesday, May 28

8 p.m. (5 p.n.): “Hard Times” (1975, Walter Hill). Charles Bronson, James Coburn and the illicit world of back-alley, bare-knuckle fighting during the American Depression. (Bronson is the boxer, Coburn his manager.)  With Jill Ireland and Strother Martin. Tough stuff.

10 p.m. (7 p.m.): “Bullitt” (1968, Peter Yates). With Steve McQueen, Jacqueline Bisset and Robert Duvall. Reviewed on FNB October 27, 2012.

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‘Sightseers’ is more arduous slog than absurd journey

May 10, 2013 By 2 Comments

Sightseers/2012/IFC Films/89 min.

British horror director Ben Wheatley’s new film “Sightseers” has a brilliant comic premise: A frumpy couple takes a caravan holiday in Northern England to enjoy a little romance, see some historic sights and do a bit of writing. Chris (Steve Oram) is a wannabe author and Tina (Alice Lowe) is his muse, natch.

This idyll is inevitably interrupted by pesky people, i. e. fellow tourists, who grate on the pair’s nerves. After accidentally running down a loutish litterbug, Chris and Tina figure they might as well do away with other pests, posers and partiers.

Chris and Tina shift easily from annoying to absurdly amoral. And this dark setup is potentially entertaining – most of us have a story about obnoxious people we’ve met while traveling and really wish we hadn’t. Unfortunately, though, I didn’t find “Sightseers” very funny, mainly because the script (by Oram and Lowe) seems clumsy, and Chris and Tina’s clichéd relationship is overly manipulated.

I can’t escape the feeling that Wheatley, whose last film was “Kill List,” another tale of unpleasant people doing ghastly deeds, infuses his films with a sense of spontaneity, creepy atmosphere, a snide hipster vibe and not a whole lot else.

That said, I did enjoy the film’s final twist. If you find yourself in a misanthropic frame of mind, this movie could be a trip worth taking.

“Sightseers” opens today at Landmark’s Sunshine Cinema in New York and at Landmark’s Nuart Theatre in West LA.

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The Noir File: Widmark is unforgettable as Tommy Udo

May 9, 2013 By Leave a Comment

By Mike Wilmington and Film Noir Blonde

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

Grinning gangster Tommy Udo was a career-defining role for Richard Widmark.

“Kiss of Death” (1947, dir. Henry Hathaway). Tuesday, May 14; 8 p.m. (5 p.m.). One of the most memorable, and scariest, of all film noir villains is Tommy Udo from “Kiss of Death,” as played by the young Richard Widmark. Tommy was a constantly grinning, giggling gunman with a pale, thin, deadly-looking face, topped by a trim fedora – a face and a chuckle that carried the promise of cold-blooded murder.

In “Kiss of Death” – another of director Henry Hathaway’s semi-true crime movies, this time co-scripted by the great Ben Hecht – Victor Mature plays Nick Bianco, an ex-crook trying to go straight, for his sweet wife Nettie (Coleen Gray). To escape his past, Nick becomes a mole recruited by the cops (including Brian Donlevy and Karl Malden) to infiltrate Udo’s mob and get the goods on this gangster. Udo falls for his new mob-mate, giggling, like a ton of bricks. Obviously, something very bad will happen when this psychopathic hood discovers that his new gun buddy is a traitor.

“Kiss of Death” is a classic, vintage Hollywood crime thriller, one of the film noirs that everyone has to see – to savor Hecht’s smart script and Hathaway’s taut direction, and to enjoy the terrific work of the entire killer cast and company. But mostly, you have to see it for Widmark. His Tommy Udo is an impersonation of pure evil so right-on that it almost freezes your blood to watch and hear him – and so convincing that a real-life member of the Mob, the notorious killer “Crazy Joey” Gallo, patterned his entire public personality after Widmark’s performance.

“Crazy Joey” Gallo

The role made Widmark a star, and, though he tried never to repeat it, and played mostly good guys for the rest of his career, he could never really get away from Tommy Udo and his pale, cold eyes, and what James Agee called his “falsetto baby talk, laced with tittering laughs.”

Tommy Udo is the last guy in the world you want to have his eye on you, the last guy whose laugh you want to hear on a dark street. And he’s the last guy you want to see standing behind a sick old lady, in a wheelchair, at the top of a staircase. Giggling.

Friday, May 10

6 a.m. (3 a.m.): “The Informer” (1935, John Ford). With Victor McLaglen, Preston Foster and Heather Angel. Reviewed on FNB December 12, 2012.

11 p.m. (8 p.m.): “Under Capricorn” (1949, Alfred Hitchcock). With Ingrid Bergman, Joseph Cotten and Margaret Leighton. Reviewed on FNB November 17, 2012. [Read more...]

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French thriller ‘In the House’ opens intimate, mysterious doors

April 19, 2013 By Leave a Comment

In the House/2012/Mandarin Cinéma, Cohen Media Group/ 105 min.

“In the House,” a new thriller by François Ozon, made me think of this quotation from Alfred Hitchcock: “I’m a writer and, therefore, automatically a suspicious character.”

In Ozon’s story-within-a-story film, there are two writers – a 16-year-old student named Claude (Ernst Umhauer), precocious and a bit of a pretty boy, and jaded, middle-aged Germain (Fabrice Luchini). With one poorly received novel under his belt, Germain now teaches in a French high school and struggles to endure his students’ mediocre essays.

But his passion for teaching is reignited when he reads some of Claude’s writing –personal, thoughtful and fresh – and certainly far more promising than the work his classmates produce. Germain shares his enthusiasm with his wife Jeanne (Kristin Scott Thomas) when he brings the assignments home at the end of the day and discusses them with her.

Claude has picked a provocative topic: a voyeuristic account of a classmate’s everyday home life, cozy and comfy, unlike Claude’s apparently more deprived situation. By tutoring Rapha (Bastien Ughetto), Claude gains up-close access to the family, observing their seeming contentment as well as sensing the underlying frustrations of Rapha’s sexy and mysterious mom (Emmanuelle Seigner) and his easygoing, jocular dad (Denis Ménochet).

Against his better judgment, Germain encourages and evaluates Claude’s literary efforts, even though he knows it is a risky experiment. Germain lectures him on the process of writing, the purpose of literature. As Claude’s creative muscle builds, the line between reality and fantasy is blurred, and the stakes are gradually, dangerously raised for all the players in this riveting domestic drama.

I am always curious about the work of director-writer François Ozon, perhaps most famous for “Potiche,” “Swimming Pool,” and “8 Women.” He has an easy touch with bold subject matter, a knack for humor (whether deadpan, dark or absurd) and a talent for making well paced, well acted thrillers that reflect his inventive, sometime s cheeky, vision while paying subtle homage to old-school suspense masters like Hitchcock, Henri-Georges Clouzot and Claude Chabrol.

Where Ozon falters slightly with “In the House” is in the movie’s visuals. Perhaps because it’s based on Juan Mayorga’s play, “The Boy in the Last Row,” Ozon’s version feels a bit too theatrical and stagebound. That said, telling the tales are terrific actors (Luchini, Scott Thomas and Seigner in particular). And, driving the suspense, Claude’s true motivation remains intriguingly elusive throughout.

“In the House” opened Friday in New York and LA at the Landmark.

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Neo-noirs now playing: ‘Trance,’ ‘The Company You Keep,’ ‘Room 237,’ ‘The Place Beyond the Pines,’ ‘Spring Breakers’

April 5, 2013 By 2 Comments

By Michael Wilmington and Film Noir Blonde

The Noir City film fest starts tonight at the Egyptian Theatre in Hollywood. Additionally, Joanna Lancaster, Susie Lancaster, actor Ed Lauter and author James Naremore will attend tonight’s screening of a new print of “Sweet Smell of Success” at the Billy Wilder Theater in Westwood.

And in case you’re more of a full-color fan, there are a several interesting neo-noir titles opening this weekend and currently playing in Los Angeles theaters. (Check your local listings for showtimes.)

Trance/2013/Fox Searchlight Pictures/101 min.

Danny Boyle’s new movie “Trance” begins with the theft of a world-famous painting (Francisco Goya’s spooky “Witches in the Air”) from a London auction in mid-sale. It continues through all kinds of slick neo-noir alleys and crannies of bloody gangsterism and psychological mystery, and ends with an unraveling that twists and turns, and changes a lot of what went before.

What seems to be happening at first is a clockwork heist of the painting, complete with smoke bombs and switcheroos, by a brutal but stylish gang led by the fashionable Frank (French star Vincent Cassel). One of the auction house’s employees, Simon (James McAvoy), tries to save the painting by encasing and running off with it. (Or does he?). And he’s stopped and cracked on the head by Frank. (Or is he?)

Soon we discover that Simon is part of the caper, that the painting has now disappeared and that, because of the head-crack, Simon hasn’t the foggiest where it is. So Frank hires a luscious and oh-so-smart American hypnotherapist named Elizabeth (played by Rosario Dawson), to unlock the priceless secret in Simon’s mind, which she confidently tries to do. (Or does she?)

Boyle is rejoined here by his first screenwriter John Hodge (of “Shallow Grave” and “Trainspotting”), along with Joe Ahearne, who wrote (and directed) the 2001 TV film, also called “Trance,” on which this “Trance” is based. Like “Shallow Grave,” there’s a touch of meanness about the movie along with a roller-coaster speed, which can slightly discombobulate and even alienate you, while still giving you a dependably thrilling ride.

The actors are all top-chop and compellingly neo-noirish, including the hypnotic Dawson, the spellbound McAvoy, all the heavies and especially Cassel. The film, shot by Boyle’s usual camera-mate Anthony Dod Mantle, is full of glowing colors, helter-skelter action, pungent villains and sumptuous sights – the most sumptuous of which is the beautiful and brainy Ms. Dawson. As they said in the heyday of ’40s noir when a real femme fatale walked by, hubba hubba.

The Company You Keep/2012/Sony Pictures Classics/125 min.

“The Company You Keep,” a political thriller based on a Neil Gordon novel, is Robert Redford’s ninth film as a director and his first as both actor and director since 2007’s “Lions for Lambs.” Contemplative, nostalgic and insightful, “Company” satisfies, despite being a little short on suspense.

He plays Jim Grant, a public-interest lawyer and single father, who lives a quiet life in a suburb of Albany, New York. Grant’s peaceful existence is shaken up when an ambitious reporter named Ben Shepard (Shia LaBeouf) reveals that Grant is a former Weather Underground activist wanted for murder.

Grant must leave his daughter behind as he leaves Albany to find the person who can clear his name. As Grant backtracks through his past associations and across the country, he’s pursued by the FBI and by Shepard, eagerly digging for more details to use in his next story. Grant has more than one secret, natch.

The tension isn’t as strong as it needs to be in a thriller and the denouement, in Michigan’s upper peninsula, seems a bit tacked on – something we’ve seen many times before. But, for me, those were minor quibbles. Redford creates an unforgettable mood of wistfulness and regret, of love lost and found.

He elicits memorable performances from an outstanding cast, which includes Julie Christie, Sam Elliott, Brendan Gleeson, Terrence Howard, Richard Jenkins, Anna Kendrick, Brit Marling, Stanley Tucci, Nick Nolte, Chris Cooper and Susan Sarandon. Shot by Adriano Goldman, the naturalistic cinematography and striking compositions serve the story well.

“Dissent can be dicey,” says Sarandon’s character. In “Company,” Redford takes a nuanced look at a dicey chapter of American history.

Room 237/2012/IFC Midnight/102 min.

No matter how many times you’ve seen Stanley Kubrick’s “The Shining” (1980), it’s unlikely you’ve delved into its subtext and symbols, and dissected its meaning(s) to the extent that the talking heads have in a new doc called “Room 237.”

Director Rodney Ascher puts the spotlight on die-hard fan/theorists who have spent years studying this mesmerizing, iconic yet flawed film starring Jack Nicholson, Shelley Duvall, Scatman Crothers and Danny Lloyd.

These fans (ordinary folk as opposed to industry-insiders, authors, academics or other experts) offer extensive and elaborate arguments for their interpretations, which range from the movie being a metaphor for genocide to proof that Kubrick faked the Apollo moon landings footage.

You may walk out believing none of the theories, but the energy, enthusiasm and imagination of these diligent decoders is great fun from start to finish.

The Place Beyond the Pines/2012/Focus Features/140 min.

“The Place Beyond the Pines” is the Iroquois Indian phrase for Schenectady, New York. Schenectady is where this madly ambitious neo-noir – about father and sons, motorcycles and bank robberies, and tragic destiny – takes place and where the movie was shot, super-documentary style, by director/co-writer Derek Cianfrance (“Blue Valentine”) and cinematographer Sean Bobbitt (“Hunger” and “Shame”).

Watching the collision between an outlaw and a cop, and its aftermath, is often riveting. The cast, an unusually good one, is topped by Ryan Gosling (as a carnival motorcyclist turned bank robber) and Bradley Cooper (as the cop). Eva Mendes, Rose Byrne and Ray Liotta are supporting players.

It’s a terrific-looking film. Cianfrance and Bobbitt shot the movie in a kind of coldly sunny blur of metallic speed and near-constant movement that starts out with a five-minute-long tracking shot.

“The Place behind the Pines,” unlike most big-star Hollywood vehicles, is something the people involved obviously cared about, that they wanted to be great. And it had a chance. The problem is the third act, which is by far the weakest. The dramatic devices are too easy to spot, the resolution too pat and some of the scenes too hard to swallow.

Spring Breakers/2012/A24/94 min.

Harmony Korine’s movies – up to and including his latest, “Spring Breakers” – are mostly outlaw pictures and weirdo comedies about people who don’t want to grow up, or shouldn’t have to: kids, crooks, artists. “Spring Breakers” is about four college girls who take off for collegiate revels in Tampa, Fla., and begin to descend into Hell.

It may be the apotheosis or culmination of all the Korines: a picture that starts off, as many have noted, like an arty “Girls Gone Wild” video, inflated to Hieronymus Boschian or Pieter Brughelian beach party proportions, and ends up doing a riff on the Al Pacino-Brian De Palma 1983 “Scarface,” mashed up into “Charlie’s Angels” gone homicidal.

It’s a sometimes fascinatingly dumb movie, about fascinatingly dumb people doing fascinatingly dumb things. The story makes absolutely no sense. But some of “Spring Breakers” is great – namely the shimmering, sun struck , stunning cinematography (part of the movie was shot quasi-verité at an actual spring break) by Belgian/French maestro Benoit Debie. And there’s the amazingly entertaining gangsta-pranksta performance by James Franco. His brain-fried hip-hop-druggie, Alien, who calls his bed an art piece and plays piano and AK47s, is a triumph of charismatic dopiness and rebel posturing.

The ending is beyond ridiculous and not funny enough to save things. The four femme stars (Selena Gomez, Vanessa Hudgens, Ashley Benson and Rachel Korine) could have used better parts and better lines, but what the hell? The movie’s credibility vanishes after the restaurant robbery scene anyway, which is shot flashily, in a “Gun Crazy”-style single take.”

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The Noir File: Marilyn, Jack and Tony: Still the best threesome in Billy Wilder’s classic ‘Some Like It Hot’

February 27, 2013 By 2 Comments

By Michael Wilmington & Film Noir Blonde

The Noir File is FNB’s guide to classic film noir, neo-noir, sort of noir and pre-noir on cable TV. All movies below are 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

Tony Curtis, Marilyn Monroe and Jack Lemmon star in this noir comedy.

“Some Like It Hot” (1959, Billy Wilder). Saturday, March 2, 1:15 p.m. (10:15 a.m.)

The place: Chicago. The color: a film noirish black and white. The caliber: 45. The proof: 90. The time: 1929, the Capone Era and the Roaring Twenties, roaring their loudest. We’re watching “Some Like It Hot” and Tony Curtis and Jack Lemmon are playing Joe and Jerry: two talented but threadbare Chicago jazz musicians working in a speak-easy fronted as a funeral parlor. Joe, who plays saxophone, is a smoothie and a champ ladies’ man. Jerry is your classic Jack Lemmon schnook, with a couple of kinks thrown in.

Curtis and Monroe on the beach, filmed at San Diego’s  Hotel del Coronado.

After getting tossed out of their speak-easy band jobs by a police raid and accidentally witnessing the St. Valentine’s Day Massacre (ordered by their ex-employer, George Raft as natty gangster Spats Colombo), they flee to Miami. They’re chased by the gangsters and the cops (Pat O’Brien as Detective Mulligan) but the guys are disguised as Josephine and Daphne, musicians in an all-female jazz orchestra.

The star of Sweet Sue and her Society Syncopators, songbird and ukulele player Sugar Kane, is the Marilyn Monroe of our dreams. Sugar has a weakness for saxophone players. Josephine and Daphne have a weakness, period. Director Billy Wilder, who made lots of gay jokes in his time, deliberately keeps his two cross-dressing stars straight.

Read the full review here.

Wednesday, Feb. 27

10 p.m. (7 p.m.): “The Third Man” (1949, Carol Reed). With Joseph Cotten and Orson Welles. [Read more...]

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Stylish, seductive ‘Side Effects’ intrigues, doesn’t fully satisfy

February 8, 2013 By 2 Comments

Side Effects/2012/Open Road/106 mins.

Steven Soderbergh’s provocative new thriller, “Side Effects” is drawing much buzz. Glossy, intelligent and compelling, with an A-list cast, it’s part mystery, part exposé, part strangely subdued melodrama that’s played out among good-looking, affluent people, all of whom are in some way affected by the use of prescription medicine. “One pill can change your life,” says the movie’s tagline.

The movie opens with a shot of a New York apartment building; inside one unit is a bloody crime scene. Then we flashback several months before to another pivotal moment – the flat’s owners Emily and Martin Taylor (Rooney Mara and Channing Tatum) are reunited after Martin is released from a four-year prison sentence he received for insider trading. The two try to rebuild their lives, but it’s an uphill struggle.

Emily suffers from depression and, after a failed suicide attempt, she agrees to take an antidepressant prescribed by a kind, ambitious doctor named Jonathan Banks (Jude Law). When her symptoms don’t improve, Dr. Banks suggests a new drug, one that turns out to have dire results for the Taylors as well as for Banks and his wife (Vinessa Shaw).

And as Emily grapples with the consequences of committing a crime she doesn’t remember, Banks probes ever more obsessively into her past, specifically her psychiatric treatment by Dr. Victoria Siebert (Catherine Zeta-Jones), icy and ultra-competent with an answer for everything.

Though at times “Side Effects” is a little hard to follow and perhaps awkwardly plotted, it’s well directed and never boring. There’s a lot going on and the powerful final twist upends everything we thought we knew about the principals.

“I wanted to write a noir-style thriller that took the audience in and spun it around, like ‘Double Indemnity’ or ‘Body Heat,’ set in the world of psychopharmacology,” says screenwriter Scott Z. Burns (“Contagion”).

Enjoyment of the movie may hinge on this factor: knowledge of these superficially interesting characters never develops into caring about them – they’re not sympathetic nor are they entertaining in their badness. For me, that made a difference – Rooney Mara’s character in particular struck me as more than a little odious, a woman with zero redeeming features.

Also, the insistently low-key emotional tone (almost as if the film itself had popped a Prozac) feels unsatisfying, given the high stakes of the story. But perhaps that was exactly Soderbergh’s intent. In a society that places a premium on quick fixes, instant answers and easy panaceas, it stands to reason that we’re comfortably numb more than often than we like to acknowledge.

“Side Effects” opens today nationwide.

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‘Purple Noon’ marked milestone for Clément and Delon

February 5, 2013 By 2 Comments

“Purple Noon,” recently released by Criterion, is the prize for FNB’s January-February reader giveaway. Michael Wilmington reviews.                                                                          

Purple Noon/1960/Robert and Raymond Hakim/118 min.

“Plein Soleil,” or “Purple Noon” is a classic thriller and an exceptionally riveting and beautiful movie about desire and cruelty, murder and malice. It’s a smoke-and-mirrors game of make-believe played by a psychopathic killer, a villain from a classic of 20th Century crime fiction – 1955’s “The Talented Mr. Ripley” by the brilliant American novelist Patricia Highsmith.

Alain Delon (right) plays Tom Ripley, a conman who fools a reckless playboy named Philippe (Maurice Ronet) and his girl, Marge (Marie Laforêt). The movie was adapted from Patricia Highsmith’s novel.

Shot in Italy, we first meet Ripley in the Bay of Naples, on a sailboat, surrounded by blazing sunlight (“plein soleil”). Two good-looking young men are laughing and smiling. The joke is that one of them, a handsome, penniless hanger-on named Tom Ripley (Alain Delon), will kill the other one, a rich, reckless playboy named Philippe Greenleaf (Maurice Ronet), assume his identity, take his money, and maybe seduce his girl, Marge (Marie Laforêt).

They are both laughing (but Philippe’s eyes are wary, Tom’s predatory), smiling with the special joie de vivre and cruel merriment of the young and careless – the high giddy spirits of, say, Robert Walker as Bruno Anthony planning his criss-cross murder with Farley Granger as Guy Haines in Highsmith and Alfred Hitchcock’s “Strangers on a Train.” But then Tom really kills Philippe. A knife thrust. A scream. “Marge!” cries the victim, the knife stuck in his chest. When the murder comes, it’s so swift, so effortless, so unexpected, yet so oddly inevitable, that it’s hard to believe we’ve seen what we’ve seen.

Ripley (Alain Delon) is a man trying to live a life that isn’t his.

Released in 1960, the same year as “Psycho” and “La Dolce Vita,” “Purple Noon” was an off-type movie for French filmmaker René Clément, a gifted and highly regarded director, who, by 1960, had won two major Cannes Film Festival awards, two Oscars (for 1949’s “The Walls of Malapaga” and 1952’s “Forbidden Games”) and two Golden Lions at Venice. In 1946, Clement had served as Jean Cocteau’s “technical adviser” (his co-director, some think) on the romantic fantasy masterpiece “Beauty and the Beast.”

Clement was a technical genius who chose challenging subjects. But he had been famously attacked in an influential article by the young François Truffaut. Writing in Cahiers du Cinema, Truffaut accused Clement and other filmmakers of being pretentious, over-praised mediocrities. Truffaut was a great filmmaker and a great film critic, but he sometimes said nasty and unfair things (as he admitted in later years) to draw attention to himself and kick up controversy. His dismissal of Clement was one of his bigger critical injustices.

Did Clement take it to heart? Most tellingly, “Purple Noon” is obviously influenced by Hitchcock, whom all the young Cahiers du Cinema critic/directors loved (they called themselves the “Hitchcocko-Hawksians”). “Purple Noon” is a film that most of them would probably have liked to have directed, but didn’t. Couldn’t?

Delon plays a love scene with his reflection in a mirror.

There is, however, a notable deviation from the Hitchcock thematic pattern. “Purple Noon” is not a movie about a wrong man falsely accused of a crime he hasn’t committed, like Cary Grant in “North by Northwest,” or Robert Donat in “The 39 Steps.”

In “Purple Noon,” Ripley is guilty. He’s a man trying to live a life that isn’t his, a life that belonged to the man he killed. “Purple Noon” is about the idle rich, and Ripley is a conman who wants to be idle and rich. Both Highsmith and Clement are unusually successful in getting us immersed in a story where most of the people are rich and selfish, where the leading man is irredeemably evil and the only really likeable character is Philippe’s abused girlfriend Marge, a writer with bad taste in men.

Ripley is in Italy at the behest of Philippe’s parents to talk Philippe into coming home. Instead, the guys become carousing hell-raising buddies. After the murder, Ripley takes Philippe’s bank records, fakes a passport, forges Philippe’s signature, imitates his voice on the phone, and lays a paper trail of hotel receipts to pretend that the dead man is still alive, still joy-riding somewhere around Italy.

Ripley is the real killer, constantly being mistaken for his own victim. It’s a brilliant Highsmith idea, and one that generates near-constant suspense, especially in the great scene when Ripley, disguised as Philippe, is confronted by Philippe’s suspicious friend Freddy Miles (Bill Kearns). That Tom-and-Freddy chase was also the only great scene in Anthony Minghella’s 1999 American movie version of “The Talented Mr. Ripley,” with Matt Damon miscast as Ripley. And the only reason that scene was great was because of Philip Seymour Hoffman’s marvelously snide performance as Freddy.

There’s a great performance in “Purple Noon” too: the tigerishly seductive Alain Delon, in his first important part. Delon is one of those impossibly good-looking actors who get careers they seemingly don’t really deserve (and that Delon said he initially didn’t want), but whose looks the movies feed on, and whom, it is said, the camera loves.

Delon, a working-class Adonis, is one of the few actors who could play, as he does here, a believable love scene with his own reflection in the mirror. We may not want Ripley to escape, but he generates unusual simpatico for a cold-blooded swindler and killer. And Maurice Ronet, with his haunted eyes and bedazzled smile, is just right as the irresponsible Philippe.

Delon, of course, was wrong for the part of Ripley in one major respect. It is impossible to believe that he (or Ronet) is an American. But in other respects, he’s an apt choice, and once you see him in the part, it’s hard to discard his image. (Damon, by contrast, though he’s played some movie villains, seems inherently too nice a guy for Ripley.)

Clement made the kind of thriller Truffaut would have loved to have made, but never did. And for the rest of Clement’s career, he was often typed as a thriller specialist, because of “Purple Noon,” which became one of the most influential of all French crime/suspense movies.

It deserves to be. “Purple Noon” still plays beautifully, especially in the scenes where Ripley battles the elements after the murder. Two years later, in 1962, a talented young Polish film director, Roman Polanski, made a thriller, set on a sailboat, that reminds you greatly of the bay scenes in “Purple Noon.” (“Knife in the Water” became an international hit and eventually brought Polanski to Hollywood where he made superb mass-audience thrillers like “Rosemary’s Baby” and “Chinatown.”)

I wish Clement had had a few more opportunities like Polanski did. Maybe Truffaut wished it as well. Maybe the maker of “The Four Hundred Blows” wished he hadn’t been so quick to thrust in the knife.

Extras: Interviews with Patricia Highsmith, Alain Delon and Clement scholar Denitza Bantcheva; Trailer; Booklet with a fine essay by Geoffrey O’Brien and a 1981 interview with René Clément.

Filed Under: Neo Noir Reviews Tagged With: , , , , , , , , , , , , ,

The Noir File: Beatty and Dunaway go gun crazy in ‘Bonnie and Clyde,’ Arthur Penn’s 1967 noir gangster classic

February 4, 2013 By 5 Comments

By Michael Wilmington & Film Noir Blonde

The Noir File is FNB’s guide to classic film noir, neo-noir, sort of noir and pre-noir on cable TV. All movies below are 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

Faye Dunaway and Warren Beatty are the noir lovers on the run.

“Bonnie and Clyde“ (1967, Arthur Penn). Monday, Feb. 4, 8 p.m. (5 p.m.). It begins with a sexy small town pickup – a fast-talking ex-con named Clyde Barrow (Warren Beatty) talks a bored blonde waitress named Bonnie Parker (Faye Dunaway) into taking a stroll, witnessing an armed robbery, and then taking a spin in a stolen car that he steals right in front of her. It ends with one of the most emotionally overpowering scenes in all of the movies. In between, we watch Bonnie, Clyde, Clyde’s cornball brother Buck (Gene Hackman), Buck’s wife Blanche-the-preacher’s-daughter (Estelle Parsons) and a wayward gas station jockey named C. W. Moss (Michael J. Pollard), run amok in the south and middle west, often accompanied by banjo picker Earl Scruggs’ rousing “Foggy Mountain Breakdown,” in one of the movies’ great crime sprees and gang sagas.

Among the inspirations for Robert Benton and David Newman’s script, which they intended for one of the ‘60s French New Wave directors, like Francois Truffaut or Jean-Luc Godard, were the ’40s love-on-the run film noirs “Gun Crazy” and “They Live By Night,” two classics also based on the legend of The Barrow Gang. Director Arthur Penn, at his peak, turned the movie into an ironic blend of twisted love story, dark comedy, caustic social portrait and breezy romantic crime thriller, with Bonnie and Clyde as a pair of deadly innocents, caught up in the poverty of the Depression and the turbulence of the ’30s gangster period. The movie is shot by Burnett Guffey in a style reminiscent of Depression-era photographer Walker Evans.

Gun-toting Bonnie and Clyde are sociopathic criminals but attractive, likable, mostly unmalicious ones. (Beatty’s Clyde believes naively that they’re helping the poor by robbing banks that are foreclosing mortgages.) Bonnie and Clyde are also, in a way, counter-culture stars – creating their own real-life movie as they race along. What they’re racing toward, though – something poetess Bonnie realizes – is the end of the line. With Gene Wilder, Denver Pyle and Dub Taylor. Oscars went to Parsons (Supporting Actress) and Guffey (Cinematography). [Read more...]

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The Noir File: Lee Marvin is a thief betrayed in ‘Point Blank’

January 28, 2013 By 2 Comments

By Michael Wilmington & Film Noir Blonde

The Noir File is FNB’s guide to classic film noir, neo-noir, sort of noir and pre-noir on cable TV. All movies below are 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

Angie Dickinson and Lee Marvin star in “Point Blank.”

“Point Blank” (1967, John Boorman). Thursday, Jan. 31, 2:45 a.m. (11:45 p.m.) “Point Blank,” with Lee Marvin as a thief betrayed and left for dead in Alcatraz, is, like “Chinatown,” one of the quintessential neo-noirs. Directed with sizzle and panache by John Boorman (“Deliverance”), the movie’s source is one of the super-tough Parker novels by Donald Westlake, with the main character’s name changed to “Walker.” (It’s changed back in the current, and disappointing, movie adaptation, “Parker,” starring Jason Statham and Jennifer Lopez, directed by Taylor Hackford.)

When the unstoppable Walker, his face deadly and determined, takes off after his treacherous old associates (including John Vernon, Carroll O’Connor and Lloyd Bochner) with the help of a mysterious guide (Keenan Wynn), and a glamorous pal (Angie Dickinson), it’s a magnetic, terrifying sight.

“Point Blank” steeps you in its L. A. locale: a surprisingly beautiful sunlit vision circa 1967. With Boorman going all out, this classic movie plays like a grand collaboration among Don Siegel, Alain Resnais and Jean-Pierre Melville. As for Lee Marvin, he’s at the top of his game. So is Angie.

Tuesday, Jan. 29

7:45 a.m. (4:45 a.m.): “The Man with the Golden Arm” (1955, Otto Preminger). With Frank Sinatra and Kim Novak.

3:15 p.m. (12:15 p.m.): “Anatomy of a Murder” (1955, Otto Preminger). With James Stewart and Lee Remick.

1:45 a.m. (10:45 p.m.): “Armored Car Robbery” (1950, Richard Fleischer). Fast, punchy heist thriller; with Charles McGraw as the tough cop on the trail of half a million. Also with William Talman (the brains) and Adele Jergens (the broad).

Wednesday, Jan. 30

Orson Welles

9:45 p.m. (6:45 p.m.): “The Stranger” (1946, Orson Welles). Orson Welles is a post-war Nazi fugitive hiding in a small town, affianced to the lovely but gullible Loretta Young. Edward G. Robinson is the government man on his trail. That cast and this movie’s virtuosic staging and camerawork (by Russell Metty), would make it a gem for almost any other director. For Welles, it’s average, but gripping.

Saturday, Feb. 2

3:15 p.m. (12:15 p.m.): “Key Largo” (1948, John Huston). With Humphrey Bogart and Lauren Bacall. Blurbed August 10, 2012.

8 p.m. (5 p.m.): “Casablanca” (1942, Michael Curtiz). With Humphrey Bogart and Ingrid Bergman.

10 p.m. (7 p.m.) “The Maltese Falcon” (1941, John Huston). With Humphrey Bogart and Mary Astor.

12 a.m. (9 p.m.): “Mildred Pierce” (1945, Michael Curtiz). With Joan Crawford and Ann Blyth.

4 a.m. (1 a.m.): “The Treasure of the Sierra Madre” (1948, John Huston). With Humphrey Bogart and Walter Huston.

Filed Under: Classic Noir Reviews, Neo Noir Reviews Tagged With: , , , , , , , , , , ,
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