With ‘Prevenge,’ Alice Lowe pops out a classic

Prevenge/2016/88 min.

I don’t know filmmaker and mother Alice Lowe but I’d be willing to bet that if she was given a baby shower, she banned boring guessing games and gluten-free, sugarless cupcakes. Instead, she might have shown “The Shining” and served hefty slabs of juicy red meat.

A bit of a random speculation, perhaps, but not after you see her sly, subversive black comedy, “Prevenge,” which she wrote, directed and starred in, well into her first pregnancy.

Lowe (whose credits include “Hot Fuzz,” “Sightseers” and “Locke”) plays Ruth, a single, soon-to-be mother who’s also a serial murderer with a talent for disguises and a penchant for gore. Why does Ruth kill? Because the demanding little fetus that has taken over her body is telling her to, natch. And because she feels betrayed by the loss of the baby’s father.

Lowe tells a smart, taut and funny yarn, with shades of Stanley Kubrick and Monty Python, raising provocative questions about women, motherhood and the way society tends to pigeonhole women who choose to have kids. She’s joined by a strong cast: Gemma Whelan and Kate Dickie (from “Game of Thrones”), Tom Davis and Kayvan Novak.

Admirably, Lowe takes a few risks with the script. For example, she doesn’t beg the audience to sympathize with the demented Ruth. “Though you might come to like her towards the end, I didn’t want it to be too easy at the start,” said Lowe at a recent screening and reception at Cinefamily in Los Angeles.

Easy, no. But entertaining? Very much so.

“Prevenge” opens on Shudder on Friday, March 24.

The film also screened at AFI FEST 2016 presented by Audi.

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Rare and riveting, ‘The Babadook’ holds its own among horror classics

The Babadook poster 2Prepare to be creeped out, chilled to the bone and genuinely scared. “The Babadook” is one of those rare films that relies on character and psychology, not blood and gore, to get under your skin. In the tradition of Roman Polanski and Stanley Kubrick, writer/director Jennifer Kent creates a mesmerizing world of loneliness and paranoia, frustration and doom.

In doing so, Kent laudably tackles a taboo topic: Motherhood gone awry. Essie Davis plays Amelia, a one-time writer who is mourning the death of her husband and struggling to raise her son, Sam (Noah Wiseman). After they read a children’s book about a menacing creature called the Babadook, Sam becomes convinced that the Babadook is real and that he is coming to get them.

Amelia is initially dismissive, writing off strange occurrences to Sam’s issues and overactive imagination. But as her own life slowly starts to spin out of control and the line between reality and fiction blurs, she must confront demons, on the page and in her past.

“The Babadook” is playing in theaters. Director William Friedkin, one of the film’s many fans, will introduce the movie on Saturday, Dec. 6, at 11:45 p.m. at the Vista Theater, 4473 Sunset Drive, in Los Angeles.

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Stanley Kubrick’s ‘The Shining,’ noir as they come, plays Saturday at the Aero Theatre in Santa Monica

The Shining/1980/Warner Bros./144 min.

By Mike Wilmington

The Shining poster Jack Nicholson“Heeeere’s JOHNNNY!!!!” screams the ferociously demented-looking hotel caretaker Jack Torrance as he axes open a door to get at his terrified wife Wendy and their child Danny, in the frightening final scenes of “The Shining“ – Stanley Kubrick’s flawed yet unforgettable 1980 film of what may be Stephen King’s best novel.

“The Shining” is revived on Saturday, Nov. 22, at the American Cinematheque’s Aero Theatre.

In the movie, Jack (played to the hilt by Jack Nicholson) is snowbound with his family (played by Shelley Duvall and Danny Lloyd) in the mountainous and isolated Overlook Lodge. It’s a vast spooky place, decorated with somber Native American motifs and infested with a creepy set of ghosts, including a sardonic bartender and a lecherous nude old lady and the previous caretaker who murdered his own family long ago in these same eerie corridors and rooms.

Wendy and Danny have watched Jack going crazier and crazier. Now, Mad Jack has hit his frenzied peak  and there‘s no one at Overlook to stop his axe-swinging rampage.

“The Shining” is not only based on King‘s best novel; it‘s probably the best movie ever adapted from any of King’s books. Even so, it’s flawed, and King was right to be somewhat disappointed with it. Here’s the problem: Kubrick and his fellow screenwriter, novelist Diane Johnson (“Le Divorce”) wrote Jack as crazy as a loon the moment he stepped into the Overlook (and even before).

King, more movingly, wrote his main character as a sympathetic but haunted alcoholic and failed novelist who loved his family and gradually sank into madness, fighting, as the ghosts and demons took over. In retrospect, Kubrick probably should have hired King as his co-writer rather than Johnson. The original story would have made a better movie and an even better role for Nicholson.

That said, “The Shining” is still one hell of a show, noir as they come, and one of the most horrifyingly visual of all classic American horror movies.

The Aero Theatre is at 1328 Montana Ave. in Santa Monica.

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Film Noir File: ‘Paths of Glory’ seduces you with its beauty, shatters you with its horror

By Film Noir Blonde and Mike Wilmington

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


Paths of Glory” (1957, Stanley Kubrick). Saturday, July 27: 1:30 p.m. (10:30 a.m.)

In 1957, Stanley Kubrick, still in his 20s – with “Dr. Strangelove,” and “2001: A Space Odyssey” still in his future – made one of the greatest of all anti-war movies: his grim, stylish and incredibly moving adaptation of Humphrey Cobb’s World War I novel, “Paths of Glory.”

Kubrick may not have known war first hand. But, in that film, he created an indelible image of war’s inhumanity and horror. “Paths of Glory” is a compelling, wrenching nightmare of a movie with a brilliant (and very noir) cast including Kirk Douglas, Ralph Meeker, George Macready and (at his best, or worst) Timothy Carey.

Based on a real-life episode, the movie was made on location in Bavaria and is set in the French trenches, where the infantry soldiers eat and sleep in the cold, dirt, and mud – and from which they charge forth to fight and die. It’s also set in an elegant chateau, far from the battlefield, where rich, ambitious generals plot the sometimes-insane strategies that will get their men killed.

Michael Douglas plays Dax, the regiment’s idealistic commanding officer.

When one ill-advised attack against the Germans fails, Macready, as the vainglorious Gen. Mireau, flies into a murderous rage and demands that his own men be executed for cowardice. His superior, the wily Gen. Broulard (Adolphe Menjou), argues the number of the condemned down to three soldiers: Meeker, Carey and Joe Turkel. Defending them is Colonel Dax, the regiment’s courageous and idealistic commanding officer (played by Douglas, one of the leading Hollywood liberals of the ’50s and ’60s). Outraged by the mad injustice of the trumped-up court-martial , Dax – a famous criminal lawyer in civilian life – argues eloquently and fearlessly for the lives of those three guiltless men.

What a great movie this is! “Paths of Glory” is a film to see when you’re young and more innocent, like the three soldiers. And to see again when you’re stronger, more mature and full of fiery ideals, like Dax. And finally to watch yet again when you’re even older and have witnessed a lifetime of the awful compromises and vile injustices that “Paths of Glory” paints with such absolute lucidity, such deadly, inexorable narrative force.

Timothy Carey had worked with Kubrick in 1956’s “The Killing.”

By the time he directed and co-wrote “Paths of Glory,” Kubrick, 29, had three features already under his belt (including the classic 1956 film noir, “The Killing”). His partner on “The Killing,” James B. Harris, produced “Paths of Glory.” Douglas – then at the height of his Hollywood stardom and power – made it happen.

Two great American novelists collaborated with Kubrick on the screenplay: Oklahoma-born noir ace Jim Thompson (author of the crime classics “The Killer Inside Me,” “The Grifters” and “The Getaway”) and the acidly funny Southern novelist Calder Willingham (“End as a Man,” “Eternal Fire”) Probably thanks to those two, “Paths of Glory” has one of the darkest visions, some of the richest characters and some of the most pungent dialogue of any American movie of that era.

Kubrick’s masterpiece of war’s injustice seduces you with its beauty, shatters you with its horror. The battle scenes are shot with a black and white grit and shock reminiscent of Lewis Milestone’s “All Quiet on the Western Front,” but also with the Max Ophuls-like grace and romanticism that Kubrick loved and that ironically permeates his film.

War is hell. It’s also noir.

Paths of Glory” is available in DVD on Criterion. [Read more…]

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Film noir flourishes at TCM film festival in Hollywood

Grauman’s Chinese Theatre was a prime location at the TCM fest. Photo by John Nowak

From Marie Windsor’s character in “The Killing” telling her wounded husband (played by Elisha Cook, Jr.) to cab to the hospital because she doesn’t feel like calling an ambulance to Grace Kelly fending off her attacker and foiling the eponymous plot in “Dial M for Murder,” on-screen femmes fatales claimed their power at the TCM Classic Film Festival April 25-28 in Hollywood.

Marie Windsor

The film noir slate was particularly rich as was the experience of seeing these film on the big screen – the lighting, the compositions, the close-ups all popped in a way that just doesn’t happen when you watch these titles on TV. Additionally, the festival does a splendid job of finding guests to introduce the films.

At Thursday’s screening of “The Killing,” actress Coleen Gray shared memories of working with director Stanley Kubrick on what would turn out to be his break-though movie. “I knew he was good,” she said. “The cast is wonderful. The story, the director and the actors are in tune. And look at the cutting – it was cut to create a masterpiece. You go and see it and you bow to Mr. Kubrick.” She added that Kubrick spent much of his directorial energy working with Marie Windsor on her hard-as-nails dame Sherry Peatty.

There was film noir aplenty at the TCM festival as well as special guests, panels, a poolside screening and parties. Photo by Edward M. Pio Roda

Fans of Ms. Windsor’s got another chance to connect with her at Friday’s screening of “The Narrow Margin.” The special guest was actress Jacqueline White. Also during that time slot producer Stanley Rubin reminisced about Marilyn Monroe, Robert Mitchum and Otto Preminger before a showing of 1954’s “River of No Return,” a stunning example of CinemaScope’s capabilities.

“[Marilyn] and Otto didn’t like each other and so we became very friendly. She was a perfect lady,” he said, adding that she was friendly and professional with Mitchum as well.

Robert Mitchum and Marilyn Monroe in “River of No Return.”

Watching Monroe and Mitchum, at the height of their physical radiance in this picture, ignited in me a newfound passion for Westerns. (Believe me, this is quite a feat.)

It’s always a toss-up when deciding between a beloved classic and a little-screened rarity. We at FNB decided to mix it up a little and forgo “Notorious,” which I often liken to a glass of Veuve Clicquot, for the chance to see a 1956 Jean Gabin black comedy “La Traversée de Paris.” Gabin is always good, but the film is uneven, without much tension or humor, a bit like a flabby claret.

A much better rare treat was the definitive British film noir “It Always Rains on Sunday,” (1947, Robert Hamer), set in London’s East End, featuring a Jewish family and starring John McCallum as prison escapee Tommy Swann and tough yet oddly dainty Googie Withers as his ex-gf. The Film Noir Foundation’s Eddie Muller introduced the film, noting that it was less a crime flick than an effective portrayal of the plight of the poor and downtrodden.

We watched this with our friend Debra Levine of artsmeme.com. Our verdict: It’s a good, engaging film but what makes it great is the sleek, striking cinematography. “Tommy made some poor choices,” Ms. Levine overheard someone saying as we left the theater. Aah, but we all know that “choice” is but a futile joke in the world of film noir!

Eva Marie Saint discussed “On the Waterfront” with Bob Osborne on Friday night. Photo by John Nowak

Another Friday highlight: the lovely and gracious Eva Marie Saint discussing “On the Waterfront.”

The next morning, early birds were rewarded with a talk by Polly Bergen at the screening of “Cape Fear,” one of Robert Mitchum’s most menacing roles. Later-risers could head to the Egyptian Theatre for the West Coast restoration premiere of 1929’s “The Donovan Affair” with live actors (from Bruce Goldstein and company) and sound effects to recreate the lost soundtrack.

Eddie Muller interviewed Susan Ray at the screening of “They Live by Night.” Photo by John Nowak

Next up was a film noir must-see: “They Live by Night” (1949, Nicholas Ray), the quintessential young-lovers-on-the-run story, with an appearance by his widow Susan Ray and introduction by Eddie Muller. Commenting on Ray’s exploratory directing style, she said: “He did not go in with a preconceived idea of what should happen in a scene. He would set it up, light a fuse and watch. He would prod or provoke if necessary. He didn’t impose truth, he looked for it.”

And on Ray’s interest in telling the stories of young people, often loners or societal outcasts, she noted: “He saw the juice, potential, openness and flexibility of youth and he loved it.” Nick Ray’s gift as a visual poet is never more apparent than when you see “They Live by Night” on the big screen.

Continuing the noir mood was “Tall Target” (1951, Anthony Mann), a period noir, starring Dick Powell, Paula Raymond and Ruby Dee, based on an actual plot to assassinate Abraham Lincoln before he could take the oath office in 1861. Film historian Donald Bogle gave an insightful introduction.

Bob Osborne chats with Ann Blyth before Saturday night’s screening of “Mildred Pierce.” Photo by John Nowak

Then it was back to the Egyptian, where the line for “Mildred Pierce,” snaked down a busy side street of Hollywood Boulevard. Special guest actress Ann Blyth said of Joan Crawford, the film’s mega-star: “I have nothing but wonderful memories of her. She was kind to me during the making of the movie and she was kind to me for many years after.”

Popcorn, Coke, Raisinets and watching Crawford pull out all the shoulder-padded stops – what more could a noirista wish for?

Sunday morning kicked off with a choice between “Badlands,” “Gilda,” or sleeping in a bit and we hit snooze. Sorry. They don’t call me Lazy Legs for nothing. Our first movie was 1973’s “Scarecrow,” starring Al Pacino and Gene Hackman – it was one of the best and most resonant films we’ve seen in a long time. The acting is tremendous in this great-looking film, which won the Palme d’Or at Cannes. Director Jerry Schatzberg discussed his work in a pre-film chat with Leonard Maltin.

Anthony Dawson and Grace Kelly in “Dial M for Murder.”

Afterward, we managed to catch the very noirish “Safe in Hell” (1931, William Wellman), starring Dorothy Mackaill as a streetwise blonde who holds her own among a slew of unsavory men while she’s hiding out in the Caribbean. Donald Bogle introduced the movie and William Wellman, Jr. answered questions afterward.

A great way to wrap up the fest, before heading to the after-party at the Roosevelt Hotel, was a 3-D presentation of “Dial M for Murder.” Leonard Maltin and the always-entertaining actor-producer-director Norman Lloyd, 98, discussed 3-D and the working methods of Alfred Hitchcock. This Hitchcock gem, a perfect example of his subversive casting, is often underrated so we particularly enjoyed seeing it; we noticed that just about every seat was taken.

Hats off to TCM for another superb film festival! The staff does an excellent job running every aspect of this event and it is much appreciated.

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

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 PacinoBrian 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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‘Stanley Kubrick’ opens today at LACMA

Director Stanley Kubrick sits in the interior of the space ship Discovery from “2001.” © Warner Bros. Entertainment

Acclaimed filmmaker Stanley Kubrick’s storytelling sometimes leaves me cold, but I’ve always admired his arresting images and balletic camera. I think his best movies are his classic noir and neo-noir titles – “Killer’s Kiss,” “The Killing,” “Lolita,” “Dr. Strangelove” and “The Shining.”

Born in New York in 1928, Kubrick began as a photographer. He had his first photograph published in Look magazine when he was 16 (he was paid $25). Later, as a Look staffer, he shot on city streets, often swathes of nighttime blackness pierced by patches of light. His desire for precision and painstaking quest for technical innovation started early and stayed with him for the next 55 years.

The range and richness of his art are explored in the first U.S. retrospective of his work, co-presented by the Los Angeles County Museum of Art (LACMA) and the Academy of Motion Picture Arts and Sciences.

Railroad station, Chicago 1949. Stanley Kubrick photo for Look magazine/Library of Congress

The exhibition highlights Kubrick’s bond with film noir, noting: “In the title of his first feature film, ‘Fear and Desire’ (1953), Kubrick declared two themes that he would return to throughout his career. The atmosphere of film noir – its claustrophobia, paranoia and hopelessness – creates a worldview made more tangible through style: low-key lighting, high-contrast and silhouetted images, the blackest shadows. These characteristics of noir, together with the camera movements that would soon be identified with the director, were coherently articulated in Kubrick’s three early features.”

And later: “What Kubrick began with ‘Lolita’ (1962) – disrupting the conventions of film noir – he accomplished completely with “Dr. Strangelove” (1964). Kubrick made the decision to treat the story as nightmare comedy.”

Kubrick’s films, including “Paths of Glory,” “Spartacus,” “Dr. Strangelove,” “2001: A Space Odyssey,” “A Clockwork Orange,” “Barry Lyndon,” “Full Metal Jacket” and “Eyes Wide Shut,” among others, are represented through archival material, annotated scripts, photography, costumes, cameras and equipment, set models, original promotional materials and props.

Sue Lyon stars in “Lolita,” based on the novel by Vladimir Nabokov.

In one of several letters rebuking Kubrick over the making of “Lolita,” the Bible Presbyterian Church of Tampa, Fla., decries that the movie “is based upon sex appeal. And that appeal is quite degenerate in its nature.”

There are also sections on Kubrick’s special effects and an alternate beginning to “2001” as well as displays about projects that Kubrick never completed (“Napoleon” and “The Aryan Papers”).

Kubrick died in 1999 in England, at the age of 70. He garnered 13 Academy Award nominations and “2001” (1968) won the Best Effects Oscar.

The exhibition, which runs through June 30, 2013, will be accompanied by a film retrospective at LACMA’s Bing Theater beginning this month.

From “The Shining” (1980): The daughters of Grady (Lisa and Louise Burns). © Warner Bros. Entertainment

To kick off the film retrospective, on Wednesday, Nov. 7, the Academy will present an evening of clips and tributes to honor Kubrick, hosted by actor Malcolm McDowell. The event will also launch the Academy’s Kubrick exhibition, which will be open to the public through February 2013.

As for the LACMA/Academy collaboration: “It is a taste of things to come when we open the Academy Museum of Motion Pictures in the historic Wilshire May Company building on the LACMA campus,” said Dawn Hudson, Academy CEO.

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The Noir File: ‘Top of the World, Ma!’ and more classic Cagney moments

By Michael Wilmington

A noir-lover’s guide to classic film noir on cable TV. All the movies listed below are from the current schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).


James Cagney in 1939

White Heat” (1949, Raoul Walsh): Tuesday, Aug. 14, 10 p.m. (7 p.m.) “Top of the world, Ma!” James Cagney screams, in one of the all-time great noir performances and last scenes. Cagney’s character (one of his signature roles) is Cody Jarrett, a psycho gun-crazy gangster with a mother complex, perched at the top of an oil refinery tower about to blow.

Edmond O’Brien is the undercover cop in Cody’s gang, Virginia Mayo is Cody’s faithless wife, and Margaret Wycherly is Ma. One of the true noir masterpieces, “White Heat” boasts another classic, hair-raising scene: Cagney’s crack-up in prison when he hears of Ma’s death. Script by Ivan Goff and Ben Roberts; music by Max Steiner. At 7 p.m. (4 p.m.), preceding “White Heat” and “City for Conquest” is the documentary “James Cagney: Top of the World,” hosted by Michael J. Fox.

Friday, Aug. 10

12 a.m. (9 p.m.): “Key Largo” (1948, John Huston) Humphrey Bogart and Edward G. Robinson are pitted against each other in this tense adaptation of the Maxwell Anderson play. Bogie is a WW2 vet held hostage (along with Lauren Bacall and Lionel Barrymore) during a tropical storm by brutal mobster Robinson and his gang. Claire Trevor, as a fading chanteuse, won the Best Supporting Actress Oscar.

Bogie is a vet held hostage (along with Lauren Bacall and Lionel Barrymore) by Robinson.

Saturday, Aug. 11

8 p.m. (5 p.m.): “Lolita” (1962, Stanley Kubrick, U.S.-Britain) Kubrick’s superb film of Vladimir Nabokov’s classic comic-erotic novel – about the dangerous affair of college professor Humbert Humbert (James Mason) with nymphet Lolita (Sue Lyon), while they are nightmarishly pursued by writer/sybarite Clare Quilty (Peter Sellers). It has strong noir touches, themes and style. With Shelley Winters; script by Nabokov (and Kubrick).

Tuesday, Aug. 14

7:30 a.m. (4:30 a.m.) “The Public Enemy” (1931, William Wellman) Quintessential pre-noir gang movie, with Cagney, Jean Harlow, Mae Clarke, booze, guns and a grapefruit.

12 p.m. (9 a.m.): “Each Dawn I Die” (1939, William Keighley) Cagney and George Raft in prison. Reportedly one of Joseph Stalin’s favorite movies.

Wednesday, Aug. 15

1 a.m. (10 p.m.): “The Night of the Hunter” (1955, Charles Laughton) The great noir with Robert Mitchum as evil Preacher Harry, Lillian Gish and Shelley Winters.

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What are your New Year’s resolutions?

Look magazine was published from 1937 to 1971. Noir director Stanley Kubrick was a staff photographer from 1946 to 1951.

In 2012, I’m taking a leaf out of Mystery Girl’s book (see the cover girl above) and have decided to relish bafflements and enigmas without overthinking them.

Additionally, I plan to use Skype more. It’s easy, it’s free, it’s installed on my computers. Now I just have to start talking. This should be eminently do-able.

Photo for Film Noir Blonde by Randy Ruth

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One of film noir’s most memorable duos: Gardner and Lancaster in ‘The Killers’

The Killers/1946/Universal Pictures/105 min.

Of all film noir’s femmes fatales, Ava Gardner as Kitty Collins in “The Killers” ranks as the most devastatingly efficient. She doesn’t waste time chit-chatting or getting to know a guy. Just a glance gets them hooked and firmly planted in the palm of her hand. “Swede” Andreson (Burt Lancaster) takes all of 10 seconds to fall for her and then get lured into “a double-cross to end all double-crosses.”

The Swede (Burt Lancaster) falls for Kitty (Ava Gardner) in about 10 seconds.

Based on the famous Ernest Hemingway short story, this 1946 film is the crowning achievement of one of Hollywood’s most prolific noir directors, Robert Siodmak, earning him an Oscar nomination for best director and leaving us with some of the genre’s most memorable characters.

The films starts with two hit men (Charles McGraw and William Conrad) coming to get the Swede, who lies back in his lonely little bed and passively accepts his fate. (This is the only part of the movie that comes from Hemingway’s story.) The fact that Swede left $2,500 to an Atlantic City chambermaid piques the interest of insurance investigator Jim Reardon (Edmond O’Brien). Reardon senses there is much more to Swede’s story and pieces together, through a series of flashbacks, the events leading up to the murder.

Of course, there’s money involved and dogged, determined Reardon links Swede to the infamous Prentiss Hat Company robbery. The $250,000 score was never recovered and Reardon’s firm had to pay out for that loss.

Swede doesn’t seem like a career criminal. He was a boxer until an injury forced him to quit and his childhood pal Lt. Sam Lubinsky (Sam Levene) tried to sell him on being a cop. But the Swede wanted something that paid more than a police paycheck. Oh and did I mention a girl named Kitty? One look at the sultry temptress has him dumping his sweet girlfriend Lilly (Virginia Christine) and doing anything Kitty says.

You’d think taking the rap for Kitty and doing three years “in stir” would be a bit of a wakeup call for Swede but not so much. This is noir, after all. By the time the Swede is out of jail, Kitty’s dating Big Jim Colfax (Albert Dekker), the mastermind of the Prentiss caper. The Swede gets involved with this job, along with Dum-Dum (Jack Lambert) and Blinky (Jeff Corey). Swede’s fellow ex-con Charleston (Vince Barnett) takes a pass on the job, but that doesn’t raise any red flags.

The robbery goes according to plan but there’s a twist on a twist that only Reardon figures out; sourcing his facts by scouring each of the robbers for info and playing one against the other. (You can see how this film, along with Stanley Kubrick’s “The Killing” entrenched itself in Quentin Tarantino’s brain.)

It may seem that the Swede isn’t the sharpest tool in the shed but he comes across as decent and sympathetic – a testament to Lancaster’s skill as a subtle but powerful performer and Siodmak’s way with actors. Gardner also gives her character nuance along with vampish flair. My only complaint is that they don’t get enough screen time together, but that said, O’Brien is a lot of fun to watch.

The acting, the dramatic (high-contrast) shadow-slicked compositions, the fatalistic mood, the sexy script and the music all contribute to the film’s status as one of the best noirs ever made. Anthony Veiller wrote the screenplay with uncredited help from Richard Brooks and John Huston; after a dispute with producer Mark Hellinger, Huston quit. The original music by Miklós Rózsa helped inspire the theme of TV’s “Dragnet.”

Robert Siodmak

Ernest Hemingway

Siodmak lost the Oscar to William Wyler for “The Best Years of Our Lives.” (The fierce competition that year also included “Brief Encounter” by David Lean; Frank Capra’s “It’s a Wonderful Life,” which has a 15-minute noir segment; and “The Yearling” by Clarence Brown.)

A German Jew, Siodmak came to Hollywood in 1940 and made his reputation as a crime/whodunit director with works such as “Phantom Lady” (1944), “The Suspect” (1945), “The Spiral Staircase” (1946) and “Criss Cross” (1948).

Though he is highly regarded now for his meticulous, tight storytelling and stylish visuals, his popularity diminished in the 1950s. He returned to Europe in 1953. Four years later, his “Nachts, Wenn Der Teufel Kam”/ “The Devil Strikes at Night” competed in the Oscars for best foreign film but Fellini’s “Le Notti di Cabiria”/“The Nights of Cabiria” (Italy) claimed the prize.

Apparently, Gardner’s performance in “The Killers” even impressed Hemingway and spurred a friendship between the two. Given that Hemingway was fond of a drink and Gardner hoped to leave this world “with a cigarette in one hand and a glass of whisky in the other” it was probably quite a bond.

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