Welcome to the HOUSE OF NOIR – a place where everyone is invited
to share their favorite (and not so favorite) scenes, trailers and art-
work from classic (and not so classic) films of this particular cinematic
style—as well as their personal feelings about all things noir.
I’d like to start out with a few scenes from the film that is (arguably)
thought to be the very first American noir film, STRANGER ON THE
THIRD FLOOR (1940). Wonderful use of shadow-play here along with
the striking angles which are used to heighten Peter Lorre’s unsettling
presence…
[youtube][/youtube]
Here we find the incredible Elisha Cook, Jr. as the poor innocent
caught in a web of an incompetent legal system. A haunting reminder
that, for some, justice is simply unattainable…
[youtube][/youtube]
The terrifying climax…a chilling combination of noir and horror…
[youtube][/youtube]
HOUSE OF NOIR
-
klondike
Re: HOUSE OF NOIR
Cool beans!
I love this thread Dewey; all the embeds were fun, and I foresee many more to come!
As I plan to spend a lot of time here, may I inquire if you've given thought to a McMahon-style co-host ???
As a graduate apprentice of the James Gleason Scool of Lingo, I'm certified to formulate & dispense tough patter as needed, so I could tend the bar, too!
{Hint, hint!}
I love this thread Dewey; all the embeds were fun, and I foresee many more to come!
As I plan to spend a lot of time here, may I inquire if you've given thought to a McMahon-style co-host ???
As a graduate apprentice of the James Gleason Scool of Lingo, I'm certified to formulate & dispense tough patter as needed, so I could tend the bar, too! {Hint, hint!}
-
klondike
Re: HOUSE OF NOIR
Sure thing, Boss!
And til some other mook wants to fuel the jukebox, how about this for a quick tease?
[youtube][/youtube]
And til some other mook wants to fuel the jukebox, how about this for a quick tease?
[youtube][/youtube]
Re: HOUSE OF NOIR
hey youse guys, I heardja was lookin for a waitress...I don't do dishes, and I don't do windows, but I'm fairly clean and I bring a whole buncha friends wit me...... jus call me Moe
[youtube][/youtube]
[youtube][/youtube]
Re: HOUSE OF NOIR
You've got the gig, Moe. One question. You got something in a
green striped silk tie?
[youtube][/youtube]
green striped silk tie?
[youtube][/youtube]
Re: HOUSE OF NOIR
Aw, honey, you don't want green. Too last year. Blue is your color. Got one right here, and plenty more when ya need em. And keep a sharp eye on Lefty the barkeep. He's been known to help himself to the change drawer. Not that I'd rat on somebody, but the guys' got a rep.
Re: HOUSE OF NOIR
Let's take a look at the noir-related career of my favorite director,
Nicholas Ray...
[youtube]]
Nicholas Ray sits squarely and securely among a singularly privileged
group of American film directors who somehow managed to put an
enigmatic stamp of ownership on most of their output during the
repressed 1950s. Ray’s own troubled personal life often reflected the
tortured loneliness of the spiritually disconnected characters darting
through his films, randomly hurtling themselves headlong into the night.
Like the youthful couple (Farley Granger and Cathy O’Donnell) helplessly
pulled deeper into a life of crime in Ray’s very first film, the phenomenal
and fatally romantic THEY LIVE BY NIGHT. Completed in 1947 and finally
released in the U.S in 1949, it languished in the RKO vaults after being
derisively chased off movie screens in — of all places — France. Ten years
later Jean-Luc Godard championed the film in the pages of Cahiers du
Cinema, proclaimed Nicholas Ray a genius — and made BREATHLESS.
[youtube][/youtube]
Nicholas Ray sits squarely and securely among a singularly privileged
group of American film directors who somehow managed to put an
enigmatic stamp of ownership on most of their output during the
repressed 1950s. Ray’s own troubled personal life often reflected the
tortured loneliness of the spiritually disconnected characters darting
through his films, randomly hurtling themselves headlong into the night.
Like the youthful couple (Farley Granger and Cathy O’Donnell) helplessly
pulled deeper into a life of crime in Ray’s very first film, the phenomenal
and fatally romantic THEY LIVE BY NIGHT. Completed in 1947 and finally
released in the U.S in 1949, it languished in the RKO vaults after being
derisively chased off movie screens in — of all places — France. Ten years
later Jean-Luc Godard championed the film in the pages of Cahiers du
Cinema, proclaimed Nicholas Ray a genius — and made BREATHLESS.
[youtube][/youtube]
Earlier in his career, Ray studied architecture with Frank Lloyd Wright
and later fell in with radio and theater people like John Houseman and
Elia Kazan. Much of the grittiness of Ray’s next picture, KNOCK ON ANY
DOOR seemd to announce the arrival of a new American wave of
emotional realism — a cinematic theater of the streets and the empty
young people who spin madly and violently through them. (Not to mention
the beginning of the fascinating late phase of the great Humphrey Bogart’s
career as a gracefully fading movie star). But even more importantly John
Derek mutters the line that will haunt the rest of the director’s work til the
end of the line: “Live fast, die young and leave a good looking corpse.”
Before long Ray would hitch his fate to the meteoric James Dean and the
fulfillment of that prophesy would sadly come to pass.
[youtube][/youtube]
The following year, 1950, Ray would again team with Bogart to do IN A
LONELY PLACE. The film also starred Ray’s beautiful, soon-to-be ex-wife
Gloria Grahame. It was no secret on the set that the marriage was coming
apart at the dreams and the moody narrative of the film — a Hollywood
screenwriter’s explosively violent nature puts him smack dab in the middle
of a lurid murder investigation — underscored the darkly erotic tableaux
unfolding on the screen. IN A LONELY PLACE now stands as a significant
signpost in Ray's career, a permanent pass key for the most troubled of us
who somehow find our way down to the House of Noir.
[youtube][/youtube]
Back at RKO Ray cooked up a piping hot romantic noir with Robert Ryan
and Ida Lupino, ON DANGEROUS GROUND. Again the gnawing
themes of loneliness and rage rise to an uncomfortable boiling point
before exploding into a misty cascade of unexpected redemption.
[youtube][/youtube]
Nicholas Ray...
[youtube]]
Nicholas Ray sits squarely and securely among a singularly privileged
group of American film directors who somehow managed to put an
enigmatic stamp of ownership on most of their output during the
repressed 1950s. Ray’s own troubled personal life often reflected the
tortured loneliness of the spiritually disconnected characters darting
through his films, randomly hurtling themselves headlong into the night.
Like the youthful couple (Farley Granger and Cathy O’Donnell) helplessly
pulled deeper into a life of crime in Ray’s very first film, the phenomenal
and fatally romantic THEY LIVE BY NIGHT. Completed in 1947 and finally
released in the U.S in 1949, it languished in the RKO vaults after being
derisively chased off movie screens in — of all places — France. Ten years
later Jean-Luc Godard championed the film in the pages of Cahiers du
Cinema, proclaimed Nicholas Ray a genius — and made BREATHLESS.
[youtube][/youtube]
Nicholas Ray sits squarely and securely among a singularly privileged
group of American film directors who somehow managed to put an
enigmatic stamp of ownership on most of their output during the
repressed 1950s. Ray’s own troubled personal life often reflected the
tortured loneliness of the spiritually disconnected characters darting
through his films, randomly hurtling themselves headlong into the night.
Like the youthful couple (Farley Granger and Cathy O’Donnell) helplessly
pulled deeper into a life of crime in Ray’s very first film, the phenomenal
and fatally romantic THEY LIVE BY NIGHT. Completed in 1947 and finally
released in the U.S in 1949, it languished in the RKO vaults after being
derisively chased off movie screens in — of all places — France. Ten years
later Jean-Luc Godard championed the film in the pages of Cahiers du
Cinema, proclaimed Nicholas Ray a genius — and made BREATHLESS.
[youtube][/youtube]
Earlier in his career, Ray studied architecture with Frank Lloyd Wright
and later fell in with radio and theater people like John Houseman and
Elia Kazan. Much of the grittiness of Ray’s next picture, KNOCK ON ANY
DOOR seemd to announce the arrival of a new American wave of
emotional realism — a cinematic theater of the streets and the empty
young people who spin madly and violently through them. (Not to mention
the beginning of the fascinating late phase of the great Humphrey Bogart’s
career as a gracefully fading movie star). But even more importantly John
Derek mutters the line that will haunt the rest of the director’s work til the
end of the line: “Live fast, die young and leave a good looking corpse.”
Before long Ray would hitch his fate to the meteoric James Dean and the
fulfillment of that prophesy would sadly come to pass.
[youtube][/youtube]
The following year, 1950, Ray would again team with Bogart to do IN A
LONELY PLACE. The film also starred Ray’s beautiful, soon-to-be ex-wife
Gloria Grahame. It was no secret on the set that the marriage was coming
apart at the dreams and the moody narrative of the film — a Hollywood
screenwriter’s explosively violent nature puts him smack dab in the middle
of a lurid murder investigation — underscored the darkly erotic tableaux
unfolding on the screen. IN A LONELY PLACE now stands as a significant
signpost in Ray's career, a permanent pass key for the most troubled of us
who somehow find our way down to the House of Noir.
[youtube][/youtube]
Back at RKO Ray cooked up a piping hot romantic noir with Robert Ryan
and Ida Lupino, ON DANGEROUS GROUND. Again the gnawing
themes of loneliness and rage rise to an uncomfortable boiling point
before exploding into a misty cascade of unexpected redemption.
[youtube][/youtube]
-
moira finnie
- Administrator
- Posts: 8024
- Joined: April 9th, 2007, 6:34 pm
- Location: Earth
- Contact:
Re: HOUSE OF NOIR
"I knew one way or another, I'd wind up seeing her that night..."
Well, brooding over the unattainable seems to have inspired some great stories and films. Just in case you get fed up with hanging around that dark House of Noir and need some company, perhaps you'd like to come with me now to a spot where you can sulk in a crowd, filled with longing...drawn by the rhythm and something else...
[youtube][/youtube]
Well, brooding over the unattainable seems to have inspired some great stories and films. Just in case you get fed up with hanging around that dark House of Noir and need some company, perhaps you'd like to come with me now to a spot where you can sulk in a crowd, filled with longing...drawn by the rhythm and something else...
[youtube][/youtube]
Re: HOUSE OF NOIR
As I wean myself away from the troubled TCM City...I join you good people here in the House of Noir. I look forward to chatting with you, making contributions and listening and learning from all of you.
Let me just say that my favorite noir is "OUT OF THE PAST" and Jane Greer walking in from out of the sunlight spelled trouble...trouble...trouble.
Thank you for the invitation to the Oasis. I have to familiarize myself with how to make my way around here.
Let me just say that my favorite noir is "OUT OF THE PAST" and Jane Greer walking in from out of the sunlight spelled trouble...trouble...trouble.
Thank you for the invitation to the Oasis. I have to familiarize myself with how to make my way around here.
-
klondike
Re: HOUSE OF NOIR
Hey, Boss - Lefty here.
I hope ya don't mind, but I thought some of the newer regulars would appreciate a kind of a, you know, photo album review as to the mugs & maps they can expect to be seein' strollin' in & out o' here, as it were, especially between sunset & sunrise, if ya get my drift.
[youtube][/youtube]
I hope ya don't mind, but I thought some of the newer regulars would appreciate a kind of a, you know, photo album review as to the mugs & maps they can expect to be seein' strollin' in & out o' here, as it were, especially between sunset & sunrise, if ya get my drift.
[youtube][/youtube]
Re: HOUSE OF NOIR
Welcome aboard, CineMaven; it’s truly a distinction having such an
esteemed cinephile and slayer of trolls such as yourself in our humble
midst! Thanks for referencing the spectacular OUT OF THE PAST as
your favorite noir; it is likewise my own personal fave!
[youtube][/youtube]
Hey Moira: Funny thing about Siodmak—while he is far from a major
favorite of mine, your choice of CRISS CROSS (one of his best, I
think) warmed my dark, dark heart. One thing Siodmak did well was
integrating swell music into the dramatic context of his story---as
evidenced by your great clip, and this one from my own favorite of his
films, Cornell Woolrich’s classic PHANTOM LADY…
[youtube][/youtube]
Miss Moe: thanks for MACAO. Did you know that my main man, Nick Ray
(see above), worked uncredited on that film for his pal, Howard Hughes?
Lefty: What, I ask what would we do without you?? Keep it up!
esteemed cinephile and slayer of trolls such as yourself in our humble
midst! Thanks for referencing the spectacular OUT OF THE PAST as
your favorite noir; it is likewise my own personal fave!
[youtube][/youtube]
Hey Moira: Funny thing about Siodmak—while he is far from a major
favorite of mine, your choice of CRISS CROSS (one of his best, I
think) warmed my dark, dark heart. One thing Siodmak did well was
integrating swell music into the dramatic context of his story---as
evidenced by your great clip, and this one from my own favorite of his
films, Cornell Woolrich’s classic PHANTOM LADY…
[youtube][/youtube]
Miss Moe: thanks for MACAO. Did you know that my main man, Nick Ray
(see above), worked uncredited on that film for his pal, Howard Hughes?
Lefty: What, I ask what would we do without you?? Keep it up!
Re: HOUSE OF NOIR
"Welcome aboard, CineMaven; it’s truly a distinction having such an esteemed cinephile and slayer of trolls such as yourself in our humble midst! Thanks for referencing the spectacular OUT OF THE PAST as your favorite noir; it is likewise my own personal fave!"
ESTEEMED Cinephile?? You're confusing me with Madamoiselles Cutter & Goddess. I'm just a girl from the projects who love classic films. Now slayer of trolls...I've had my skirmishes. But no worries all who know me and those who don't.
I Come In Peace.
I just bought "A BLUEPRINT FOR MURDER" starring the beautiful Jean Peters. I haven't seen it many years and hope to watch it as the week goes on. As I recall...her interrogation scene is reminiscent of Sharon Stone's in "Fatal Attraction" minus the...
ciagarette smoking.
Come on...I said I come in peace.
P.S. One of my problems getting on board here is that I must tatoo my password and way of signing my cyber handle, onto my wrist. I keep forgetting and have to go through hoops to get in here with you guys.
(Yeah...my learning curve is low).
ESTEEMED Cinephile?? You're confusing me with Madamoiselles Cutter & Goddess. I'm just a girl from the projects who love classic films. Now slayer of trolls...I've had my skirmishes. But no worries all who know me and those who don't.
I Come In Peace.
I just bought "A BLUEPRINT FOR MURDER" starring the beautiful Jean Peters. I haven't seen it many years and hope to watch it as the week goes on. As I recall...her interrogation scene is reminiscent of Sharon Stone's in "Fatal Attraction" minus the...
ciagarette smoking.
Come on...I said I come in peace.
P.S. One of my problems getting on board here is that I must tatoo my password and way of signing my cyber handle, onto my wrist. I keep forgetting and have to go through hoops to get in here with you guys.
(Yeah...my learning curve is low).