Act of Violence
It’s always been puzzling to me why this almost unbearably bleak noir hasn’t made it to the forefront of the pack of truly exemplary films noir in critical circles. If we are to use the canonical criteria for noir of noted local author, former peeping tom, and current all-around creep, James Ellroy, as best summed up by a two-word description, “you’re fucked,” then noirs don’t come much more noir-ish than Act of Violence. We hear a lot about noir embodying the postwar anxieties of the United States. Well, Act of Violence lets those icky feelings boil to the top and builds its plot around a hornet’s nest of postwar guilt, fear and anxiety.
Van Heflin plays Frank Enley, a WW2 veteran living an idyllic life in a small California town. He’s a family man, and a pillar of the community. The film opens with a crowd gathered to cheer him for his latest real estate development and he is described as having proved himself in battle, as well as in business, an all-around great guy. He bounces his little son on his shoulders while listening to his tribute with his wife. But this blissful scene is contrasted with the severe image of Robert Ryan, dressed in a trench coat and fedora in some New York slum, brandishing a gun, and lurching towards a Greyhound bus leaving for California.Continue Reading
Bad Day at Black Rock
I wish the screenplay for Bad Day at Black Rock was taught in screenwriting classes as a model example of how to craft a perfect thriller. Ideally it might inspire a confidence in economic storytelling that students today would have little familiarity with. An incredibly suspenseful movie that lasts just 81 minutes, Bad Day at Black Rock could be the perfect corrective to every lousy impulse by movie executives to lard up a story with overkill. I think that’s the real problem with modern studio fare. Lest their movies be ignored by an increasingly fractured and distracted audience, movies nowadays are oversold into oblivion. Even trailers are exhausting to watch. It’s a simple case of too much information at every turn. As far as Hollywood is concerned, a film that treats the audience like adults with the capacity to figure things out for themselves is a risky prospect for the 15-year-old fan boy market and, at this point, what’s not good for the fan boys is not good for Hollywood’s bottom line. And this all-pervasive tendency for movies to be too long and too obvious even extends to the contemporary thriller where it tends to spoil them from the outset.
The mantra of a good screenwriter is "show, don’t tell" but the inclination of most movie people nowadays is show, tell, and then add a commentary track to the DVD that spells out even more useless information. It can be said that independent film has created a forum for more offbeat storytelling, but there was a time when a good story was enough reason for a big studio such as MGM to produce it. Which brings us to the case of Bad Day at Black Rock. It represents the antithesis of the overkill approach.Continue Reading
Max Ophuls's reputation as one of the greatest of all film directors seems principally based on the films he did in Europe such as The Earrings of Madame De... (1953) and Lola Montes (1955), about which Andrew Sarris famously proclaimed “the greatest film of all time.” But before he got to those he was a temporary exile in Hollywood along with many of the greatest film directors of the 20th century, all European, all having fled from war-torn Europe. Some thrived in their new exotic environs (Billy Wilder, Fritz Lang), while some never quite regained their former stride (let’s at least think about including Jean Renoir here).
In Hollywood Max Ophuls made some of the most sophisticated thrillers of the late 1940s and yet, because they dealt with American women, were snubbed as "women's pictures" at the time. Both Ophuls's Caught and The Reckless Moment were released in 1949, ending the decade on a high note for nuanced portrayals of women attempting to navigate a darkened moral universe made unavoidable by the post-war era even as the coming Atomic Age onslaught of The Donna Reed Show was about to begin.Continue Reading
Out of the Past
Of that post-WWII generation of male actors who came of age in war flicks but really defined themselves in the Film Noir genre, none was cooler than Robert Mitchum (and that was a group of cool dudes that included Burt Lancaster, Richard Widmark, Sterling Hayden, Robert Ryan, and his co-star here Kirk Douglas). Whether playing a hero or a villain, Mitchum reeked of both danger and manly charm even when he spewed indifference. His career spanned decades with a number of signature roles and important films, but of the Noir period none was better than that of ex-detective turned gas station owner Jeff Bailey in Out of the Past.
Director Jacques Tourneur is more known today for his groundbreaking horror flicks with producer Val Lewton: Cat People, The Leopard Man and I Walked With a Zombie. Though in retrospect those eerie and strange shadowy black n’ white flicks could be called horror noir, making the Frenchman the perfect director to bring his almost Expressionistic approach to a crime mystery in what was then considered a B-genre. Like much gothic horror, Jeff Bailey is a guy haunted by his past, trying to escape from his own mind and hide from his own instincts.Continue Reading
The Wild Bunch
As the western genre in America became more and more watered down by television, Sam Peckinpah singlehandedly turned the western on its head; his The Wild Bunch shocked 1969 audiences with its almost apocalyptic, misogynistic, and violent vision of a dying era. By today’s standards The Wild Bunch is still a nihilistic masterpiece. The action and graphic carnage on screen are still staggering and utterly exciting. And along with Battleship Potemkin, Psycho, and Bonnie and Clyde, it’s still one of the gold standards for incredible cutting-edge editing of violence and death. The film is bookended by two of the best pieces of choreographed mayhem ever put to screen where the Bunch engage in shootouts so violent and intense that the film got an X rating then and even got an NC-17 rating when it was re-released in the ‘90s (both ratings were negotiated down by the studios). The editing and mix of film speeds, including slow motion, have been ripped off and become a standard in operatic action scenes since—just check out all of John Woo’s best (Hong Kong) films; they’re direct grandchildren of The Wild Bunch.
The legend of director Sam Peckinpah has taken on mythical proportions; he was a man out of time, a hard drinkin’ visionary with a death wish. One fact is definitely true: he was an ex-TV western director trying to find a place in features. His Ride the High Country was considered a little gem while the financial disaster and critical drubbing of Major Dundee almost ended his film career (a half-ce...