- A bucket of ice cubes in the bath is just not enough to cool down this steamy noir. Writer-director Lawrence Kasdan’s 1981 homage to Double Indemnity blows the mercury right out the top of the thermometer. Kathleen Turner is the sultry femme fatale who plays William Hurt’s hapless pushover like a Stradivarius (“You aren’t too smart. I like that in a man.”) The combination of the Florida heat with Turner and Hurt’s sexual chemistry will light your socks on fire. Outstanding support from Richard Crenna, Ted Danson, J.A. Preston and an up-and-coming character actor named Mickey Rourke.
- Akira Kurosawa’s 1963 noir, adapted from Ed McBain’s crime thriller King’s Ransom, is so multifaceted that it almost boggles the mind. Toshiro Mifune is excellent as a CEO who, at the possible risk of losing controlling shares of his own company takes full responsibility for helping to assure the safe return of his chauffeur’s son, who has been mistaken as his own child by kidnappers. As the film progresses, the backdrop transitions subtly, and literally, from the executive’s comfortable, air conditioned mansion “high” above the city, to the “low”, sweltering back alleys where desperate souls will do anything to survive; a veritable descent into Hell. On the surface, it plays as a fairly straightforward police procedural; and even if one chooses not to delve any further into subtext, it’s a perfectly serviceable and engrossing entertainment on that level. However, upon repeat viewings, it reveals itself to be so much more than a mere genre piece. It’s about class struggle, corporate culture, and the socio-economic complexities of modern society (for a 50 year old film, it still feels quite contemporary).
- Humphrey Bogart gives a great performance as a WW2 vet who drops by a Florida hotel to pay his respects to its proprietors- the widow (Lauren Bacall) and father (Lionel Barrymore) of one of the men who had served under his command. Initially just “passing through”, he is waylaid by a convergence of two angry tempests: an approaching hurricane and the appearance of Johnny Rocco (Edward G. Robinson). Rocco is a notorious gangster, who, along with his henchmen, takes the hotel residents hostage while they ride out the storm. It’s interesting to see Bogie play a gangster’s victim for a change (in one of his earlier starring vehicles, The Petrified Forest
, and later on in one of his final films, The Desperate Hours
, he essentially played the Edward G. Robinson character). The entire cast is spectacular. Along with The Maltese Falcon 
and The Asphalt Jungle
, it’s one of John Huston’s finest contributions to the U.S. noir cycle.
- Is it a film noir? A horror movie? A black comedy? A haunting American folk tale? The answer would be yes. The man responsible for this tough-to-categorize 1957 film was one of the greatest acting hams of the 20th century, Charles Laughton, who began and ended his directorial career with this effort. Like a great many films now regarded as “cult classics”, this one was savaged by critics and tanked at the box office upon its initial release (enough to spook Laughton from ever returning to the director’s chair). Robert Mitchum is brilliant (and genuinely scary) as a knife-wielding religious zealot who does considerably more “preying” than “praying”. Before Mitchum’s condemned cell mate (Peter Graves) meets the hangman, he talks in his sleep about $10,000 in loot money stashed somewhere on his property. When the “preacher” gets out of the slam, he makes a beeline for the widow (Shelly Winters) and her two young’uns. A very disturbing (and muggy) tale unfolds. The great Lillian Gish is on board as well. Artfully directed by Laughton and beautifully shot by DP Stanley Cortez.
(1946)- A grimy (but strapping) itinerant (John Garfield) drifts into a hot and dusty California truck stop/”last chance” gas station run by a dusty old codger (Cecil Kellaway) and his hot young wife (Lana Turner). Sign outside reads: “Man Wanted”. Garfield needs a job. Turner needs a man. Guess what happens. An iconic noir and the blueprint for ensuing entries in the “That was good for me too, baby…now how do we lose the husband?” genre. Tay Garnett directs with a wonderfully lurid flourish. Harry Ruskin and Niven Busch adapted their screenplay from the James M. Cain novel. Bob Rafelson’s 1981 remake (starring Jack Nicholson and Jessica Lange as the illicit lovers) was more sexually graphic yet somehow…not as deliciously sordid.
- What is it with Janet Leigh’s bad luck finding decent overnight lodging? In Orson Welles’ classic sleaze noir, poor Janet is terrorized in her motel room by a gang of low-rent junkie thugs led by a totally butched out, leather-clad Mercedes McCambridge. This is but a small taste of the perversely entertaining vignettes that make up this 1958 film, set in a Mexican border town. Welles casts himself as one of filmdom’s most memorable villains-Hank Quinlan. Quinlan is a sweaty, corpulent, morally bankrupt police captain from the U.S. side who is “helping” a straight arrow Mexican narcotics officer (Charlton Heston) as he investigates the car bomb murder of an American businessman. For such a pulpy tale, there’s a fairly intricate narrative, and a myriad of speaking parts, played with much aplomb right down to the smallest character bits (my favorite cameos are by the aforementioned McCambridge, and Dennis Weaver as a twitchy motel manager). As Quinlan’s cynical old flame, Marlene Dietrich nearly steals the show (“I didn’t recognize you. You should lay off those candy bars,” she deadpans, in the film’s best line). Welles despised the studio’s original 96-minute theatrical cut; there have been nearly half a dozen re-edited versions released since 1975. Universal’s 50th anniversary DVD has the theatrical, preview and 1998 “definitive” cuts.
come to mind), but this 1953 existential adventure film from director Henri-Georges Clouzot sits atop that list. Four societal outcasts, who for one reason or another find themselves figuratively and literally at the “end of the road”, hire themselves out for an apparently suicidal job transporting two truckloads of touchy nitro over several hundred miles of bumpy jungle terrain for delivery to a distant oilfield. It does take a little time for the “action” to really get going; once it does, you won’t let out your breath until the final frame. Yves Montand leads the fine international cast. Clouzot co-scripted with Jerome Geronimi, adapting from the original Georges Anaud novel. The 1977 William Friedkin remake Sorcerer has its detractors, but I recommend a peek.