Out of the Past

1947’s Out of the Past is widely considered to be one of the greatest examples of 1940s film noir. Set around a convoluted plot, the film twists and turns through double, triple and quadruple crosses, landing surprise blows on its dumbstruck and occasionally confused audience. Based on the novel Build My Gallows High and originally released in the UK under the same title, the picture stars Robert Mitchum as freelance Private Detective Jeff Bailey. He’s hired by rich and shady businessman Whit Sterling (Kirk Douglas) to track down a dame, Kathie Moffat (Jane Greer) who Stirling alleges has disappeared with $40,000 of his money. Told partly in flashback and with a voiceover to match that of Sunset Boulevard’s, the film twists and turns like a twisty-turny thing, through several cities, two nations and a long, albeit undisclosed, period of time.

It took me a little while to get into Out of the Past but when I did, I enjoyed it greatly. Unfortunately my patience wore off towards the end thanks to the elaborate nature of the narrative. This isn’t a film I’d suggest watching after a long day at the office and a couple of martinis inside your stomach. Although a large part of the movie’s charm is its strong story, the frequent double crossing did begin to confuse me as we crossed the hour mark. This isn’t entirely a bad thing however as half the fun is in guessing who has the upper hand and who will strike next.

Double Indemnity

I had only been a few months since the last time I saw Double Indemnity but today’s watch of the noir inflected The Lost Weekend made me want to step back a year earlier to revisit Billy Wilder at the height of the genre. Double Indemnity could be described as the archetypical film noir. Although the genre stretches back further than the film’s 1944 release, it was Double Indemnity which provided the blue prints from which later titles took their queues. Famous today for its voice-over, use of venetian blind lighting and provocative femme fatale, at the 17^th Academy Awards the picture was nominated for seven Oscars. Although it ultimately left that ceremony empty handed, the movie’s reputation has gone from strength to strength and it currently sits inside the top thirty on the AFI’s poll of 20^th Century movies.

The film is told in flashback and voiceover by Walter Neff (Fred MacMurray). Neff is a talented insurance salesman who becomes an active participant in a murder plot following a chance meeting with the seductive Phyllis Dietrichson (Barbara Stanwyck). Neff is at the Dietrichson household with the hope of persuading Mr. Dietrichson to renew his motor insurance when he’s presented with the beguiling temptress that is the lady of the house. Blinded by love or at the very least passion, Neff agrees to help the lady to murder her husband and share in the insurance pay out. Having constructed an elaborate murder plot, Neff’s firm and in particular the capable Barton Keys (Edward G. Robinson) are charged with working out how the supposed accidental death of Mr. Dietrichson occurred.

The Lost Weekend

Billy Wilder’s multi award winning The Lost Weekend was one of the first movies to tackle the pull of alcohol head on. The fantastic script details four days in the life of long time alcoholic Don Birnam (Ray Milland) who despite his best intentions to stay sober, ends up down an ever spiralling path of addiction. The winner of four Oscars and nominated for three more on top, The Lost Weekend was one of Wilder’s most lauded films and has lost little of its potency in the near seventy years since its release. Opening in the apartment which Birnam shares with his long suffering and devoted bother, Wick Birnam (Phillip Terry) is attempting to get his brother out of the city and away from the temptation of liquor for a few days. He hopes that the cold turkey approach will aid in his brother’s recovery and allow him the time and clear head to write – a career which Don attributes to himself with little evidence of success.

This first scene displays Don’s dependency through the use of the first of several hidden bottles of rye. Whilst packing, Don tries to slip into his case a bottle which he has attached to a rope swinging outside his window. This, unlike many other bottles is soon discovered but Don still manages to wriggle out of the booze free break and instead settles in for a weekend of petty criminality and hard drinking. Don’s first act of cruelty in the pursuit of his fix is to steal the $10 which his brother has left for the housekeeper. He lies to her that the money (her wage) isn’t waiting for her and purchases two bottles before heading to the bar for a drink. The look on Don’s face when he is presented with the short glass of light brown liquid tells us all we need to know about his addition. He’s like a child of Christmas Day, eager, excited, unable to wait. The first drink is downed and swiftly followed by several more.

The Double

Richard Ayoade’s second film and follow up to 2010’s critically acclaimed Submarine is The Double, a dark comedy based on Fyodor Dostoyevsky’s satirical novella of the same name. Set in a subterranean hinterland of unknowable time and location, the film follows the life of lonely, ignored and unseen data imputer Simon James (Jesse Eisenberg). Simon floats through life unnoticed by those around him, stating that he feels as though people could almost reach through him as though he wasn’t there. When a new co-worker is introduced, Simon is shocked to discover that he looks and sounds exactly like himself. His doppelgänger though is everything he is not; cocky, outgoing and highly visible.

The Double could easily have been a film that was known for its story. Based on the work of one of the literary greats of the nineteenth century, the film has the narrative already safely mapped out and it indeed delivers an interesting and complex story. In the hands of Ayoade though, this film will be remembered for more; chiefly its design and sound. Richard Ayoade has constructed a magnificent film that evokes so much but remains unique. It’s beautiful and funny, grim and depressing all in equal measure.

Touch of Evil

Touch of Evil is only the second film I’ve seen to be directed by Orson Welles but both are amongst the most beautifully constructed I’ve ever seen. Based on the novel Badge of Evil, legend has it that Welles challenged producer Albert Zugsmith to provide him with the worst script available, which Welles promised to turn into a great film. Whether true or not, the second part of that sentence is utterly correct. Welles turned out a terrific picture which is handsomely directed, tightly written and wonderfully acted. 

The movie opens on a famous three minute and twenty second tracking shot, a shot which has been copied by and influenced scores of film makers since. A car is loaded with a bomb and is then driven across the Mexican border, into Texas. After exploding on the American side of the crossing, a newlywed Mexican drug enforcement official named Miguel Vargas (Charlton Heston) is one of the first on the scene. After ushering his wife (Janet Leigh) to safety, he quickly assesses the crime but is soon pushed to one side by the old, dependable local Police Captain, Hank Quinlan (Orson Welles). Quinlan and Vargas chase the leads but soon Vargas begins to believe that his American counterpart isn’t playing fair.

The Big Sleep

The Big Sleep is a 1946 film noir starring the married couple of Humphrey Bogart and Lauren Bacall. Bogart plays Private Detective Philip Marlowe who is employed by a retired General to help resolve the gambling debts of one of his two attractive daughters. Marlowe soon discovers that there is more at stake than simply some unpaid debts and a confusing and ever deepening plot unfolds, one which contains blackmail, duplicity and murder.

The movie is powered along thanks to some great dialogue and obvious chemistry between the two leads. Its plot however is as impenetrable as a Nun’s chastity belt and just gets more and more confusing as it progresses. The story throws out leads and clues which subsequently lead to more leads and clues, many of which ultimately end nowhere. Raymond Chandler, the writer of the novel upon which the film is based, famously stated that not even he could answer some of the questions the plot places in front of the viewer.

The Maltese Falcon

Generally regarded as the first example of film noir, The Maltese Falcon is a slick and engaging thriller set in San Fransisco. The low key lighting and interesting camera angles add to a thrilling story which focuses on the search for a 16^th Century statue. The valuable gold statue was stolen long ago and has been hunted for years. Its location has finally been tracked to California where several people are working to discover its exact location. Private Detective Sam Spade (Humphrey Bogart) becomes entangled in the search along with three unscrupulous hunters, each of whom is out to outsmart and outwit the others. With several murders on the books and a number of motives and suspects, Spade is tasked with not only helping to solve the mysteries but also clearing his own name.

I’d been looking forward to watching The Maltese Falcon for a long time and had long heard about how good it was. I’m sad to report then that the movie failed to live up to my raised expectations despite some genuinely inventive story and film making craft. Although I wasn’t as disappointed as when I watched a couple of other classics (Vertigo), I failed to be entranced by the movie and wavered between gripped astonishment, dull boredom and everywhere in between.

Sunset Boulevard

Sunset Boulevard is a multi award winning 1950 melodrama which turns the camera on Hollywood and tells the story of a faded silent movie star’s relationship with an ambitious but unsuccessful young writer. Nominated for eleven Oscars it is often regarded as one of the greatest films ever made and appears on numerous Top 10 lists. In 1989 it was selected as one of the first films to be preserved in the National Film Registry and today, over sixty years after its release it continues to stand up thanks to its excellent writing, direction, performances and Noir sensibility.

Joe Gills (William Holden) is a struggling writer in search of a job. He has little success and with debt collectors on his tail he drives into the seemingly abandoned driveway of an old Sunset Boulevard mansion. He soon discovers that the decrepit house is in fact occupied by a former movie star called Norma Desmond (Gloria Swanson) and her mysterious butler Max (Erich von Stroheim). After initially being mistaken for an undertaker, Joe announces himself as a screenwriter and the former star puts him to work rewriting her screenplay with the hope that it will rekindle her career. Desmond, it soon turns out, is living in a delusion and cannot grasp that her time has been and gone while Joe uses his time in the house to further his career.

The Black Dahlia

The Black Dahlia is a neo-Noir film Directed by Brian De Palma and based on the book of the same name by James Ellroy (L.A. Confidential). The film was a critical and commercial failure on its release in 2005 and I first saw it on DVD in about 2007 but on a really small TV in my girlfriend’s university flat. We both fell asleep so didn’t remember much about it. There were two reasons why I wanted to see the movie again. The first was that it was featured in a fantastic Sight & Sound article about post 2000 Noir and the second was Scarlett Johansson. Any excuse to watch one of her films. Having seen it properly now I’ve come to the conclusion that I probably didn’t need to see it again and there’s a reason I didn’t remember much of it. The Black Dahlia is overly confusing and the time I spent trying to piece things together took me away from the plot and the excellent period world that the film created.

Placed shortly after the Second World War in Los Angeles the movie is set around a real life murder case but everything else is fictional. Former boxers turned cops Dwight 'Bucky' Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart) take part in a fixed fight which earns everyone in the Department an 8% pay rise. They soon end up as partners and following the grizzly murder of a young wannabe starlet (Mia Kershner) Blanchard begins to obsess about catching the killer, leaving the rest of their work and his girl (Scarlett Johansson) on the outside looking in.

Strangers on a Train

Alfred Hitchcock’s tale of doubles, murder, light and dark, Strangers on a Train is a film with a lot of deep and hidden subtext which sits underneath a nicely woven story. Amateur tennis player and wannabe Politician Guy Haines (Farley Granger) is on a train when he meets a chatty and confident man named Bruno Anthony (Robert Walker). Bruno recognises the tennis ace and begins talking about stories of Guy’s private life that he has read about in the newspapers. Guy is uncomfortable but humours the strange man who soon begins to talk of murder and how they could pull off the perfect murder by each murdering the other’s problem person. Guy is on the way to speak with his wife about a divorce and Bruno suggests murder. A few days later Guy’s wife is found murdered and Guy is stalked by the shady Bruno who says that it is Guy’s turn to commit the crime.

Strangers on a Train is far from my favourite Hitchcock film but it features some stunning cinematography and a vast array of visual motifs which help to spell out the plot and themes. The performance of Robert Walker is also noteworthy but I rarely felt fully engaged with the story. It is perhaps a movie that would benefit from a second viewing but like pretty much all of Hitchcock’s movies is still worth watching.

White Heat

James Cagney returns to the genre that gave him his break in White Heat in which he plays a ruthless and brutal gangster and leader of the Cody Jarrett criminal gang. Having robbed a train and leaving a trail of bodies in his wake, Jarrett (Cagney) hands himself in to the law for a lesser charge in order to avoid the gas chamber. To catch him for the train robbery the cops send Hank Fallon (Edmond O’Brien) undercover into the prison to attempt to befriend the fiend and gain vital information and perhaps a confession. When Jarrett breaks out though he takes Fallon with him and the cops begin their chase.

A few years ago White Heat was voted the forth best gangster film of all time by the AFI behind The Godfather I and II and Goodfellas. It was for this reason and my recent discovery of James Cagney that I sought the film out and wasn’t disappointed. The film has certainly aged and isn’t as violent or gruesome as its modern counterparts but a fantastic story and fine acting make it one of the best gangster flicks ever in my opinion.

M

Fritz Lang’s first sound film and his penultimate German movie, M is loosely based on a number of serial killers in 1920s Germany. The people of Berlin are in a state of mob like panic as an unknown man is killing little girls in the city. Everyone is a suspect and the police are getting nowhere despite thousands of (conflicting) eye witness testimonies. With unwanted attention falling on the ‘innocent’ criminal fraternity, local crime bosses take it upon themselves to capture the killer and use the large homeless and beggar community as their spies, watching little girls in the hope of discovering the man behind the attacks.

M is often, and rightly, considered as one of the first masterpieces of the sound era. Not only is it a terrific, tense and surprisingly violent film but its use of sound is up there with the best of the period. Realising that sound could be used for more than mere dialogue Lang employs it as part of the plot and has sound off screen along with long periods of silence interrupted by loud noises which together with a deep and complex score and haunting whistle help to make M one of the best of the early talkies. The film also features Lang’s famed use of light and shadow and a fantastic central performance from Peter Lorre.

Gangster Squad

It’s nearly Christmas. You’re really excited and have been waiting for ages. You think that your parents have got you an amazing LEGO Castle with some of your favourite minifigures. Every time you go to the cinema your parents show you a little sneak peek at a couple of the best looking bricks. You can’t contain your excitement. Then some idiot shoots a load of people in the LEGO factory and Santa puts Christmas back. The Castle you are told needs some tweaking. You wait and wait, still excited. The day finally arrives. You rush to the cinema to open your Christmas Present and… wait. It’s not the amazing LEGO Castle at all but some cheap imitation. Your Ryan Gosling and Emma Stone minifigures are there and there’s even one that looks a bit like Sean Penn, it looks great too but it isn’t what you were hoping for.

Originally slated for release in autumn 2012 Gangster Squad was put back following the tragic Aurora shooting in Colorado. After some reshoots to remove a pivotal cinema shoot up the film was released in the UK in January 2013. I’d been really looking forward to it since early 2012 but my anticipation was never going to be met. The film tells the real life story of The Gangster Squad, a small Police Unit given free reign to catch L.A. Gangster Mickey Cohen (Sean Penn). Sergeant O’Mara (Josh Brolin) brings together a crack squad of rough, strong and smart Police to meet Cohen on his own terms and free L.A. from his grasp.

Angels with Dirty Faces

Angels with Dirty Faces is a Hays Code era gangster film which stars James Cagney as Rocky Sullivan, a notorious gangster with a good side. Rocky grew up what appears to be the Lower East Side with his friend Jerry (Pat O’Brien) getting up to all sorts of misdemeanours and petty crime. One day the boys are being chased through a train yard when Jerry slips and falls in front of a moving train. Rocky saves his friend but as the boys make their escape Rocky is caught and sent to reform school which leads to a life of crime. Years later Jerry is a Priest and having been released from a stint in jail Rocky returns to the old neighbourhood to claim his share of loot from his crooked lawyer Frazier (Humphrey Bogart) but Frazier ain’t taking too kindly to Rocky walking back up in here, you get me, you mutz.

The film features a great central performance from Cagney as well as some brilliant set design and cracking dialogue. It feels a little diluted when compared to earlier pre-Code films but you get the picture of the world in which the characters are living. What is obvious although sometimes too obvious is the message. Sometimes it’s not who you are but where you are that makes you and the film’s black and white telling of this idea is laid out very clearly.

Blade Runner

Ridley Scott’s Blade Runner has appeared on All Time lists in Empire, Total Film, Sight and Sound, Time Magazine and countless others, both professional and amateur. It is generally regarded as one of the greatest Science Fiction movies of all time but here’s where I’m going to start making people angry. I don’t think it is. I’ve seen the film twice now and on my first viewing thought it not only wasn’t the greatest Sci-Fi ever but was just average. Yesterday on my second viewing I enjoyed it more than my first but I’m yet to join the millions who rank it as one of the best films ever. For me it is too slow and not very interesting. There’s obviously a lot to like but best ever? Nope.

It’s Los Angeles 2019 and humanoid replicants have been outlawed on Earth. The machines were designed as slave labour to perform menial tasks on the off world colonies but following an uprising, Blade Runners were hired to track down and ‘retire’ (kill) all Earth dwelling replicants. Rick Deckard (Harrison Ford) is a former Blade Runner who is convinced to return to the job to track down several Nexus 6 replicants who have returned to Earth illegally, intent on extending their built in four year lifespan.

Shadow of a Doubt

"We're not just an uncle and a niece. It's something else"

After watching Psycho for the first time last month and being completely blown away by its brilliance I thought that if I’m going to call myself cineliterate then I need to be watching more of Alfred Hitchcock’s work. While browsing my LoveFilm streaming account I came across Shadow of a Doubt from 1943 and gave it a go. Unsurprisingly it’s very good.

Charlotte ‘Charlie’ Newton (Teresa Wright – Mrs. Miniver) is a teenager, just graduated from High School living in the small idyllic town of Santa Rosa, California with her mother (Patricia Collinge), father (Henry Travers - It’s a Wonderful Life) and younger siblings (Edna May Wonacott & Charles Bates). Charlie is fed up with the mundane nature of her small town life and complains that nothing ever happens to her. Soon after she receives the wonderful news that her Uncle Charlie (Joseph Cotten – Citizen Cane), whom she is named after, will be coming to stay. His visit comes shortly after he is seen hiding out in his Newark boarding house room, spying two men from across the street. Young Charlie is initially delighted by the arrival of her Uncle but she begins to suspect that all is not well with him around.