I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

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ChiO
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by ChiO »

Just a beautiful sunny Sunday afternoon by the Bay, so what could be better than to spend it in a dark theatre watching dark movies.

Why do I feel compelled to defend THE FEARMAKERS (1958) by the great Jacques Tourneur? So often I hear "it's nothing compared to OUT OF THE PAST" (or CAT PEOPLE, or I WALKED WITH A ZOMBIE). Poor Jacques, a victim of the misguided Orson Syndrome: You make one or two or three of the greatest movies in history and, therefore, all others are failures. Or, the "it's okay, but it's no THE MANCHURIAN CANDIDATE." Why? "The climax at the Lincoln Memorial is so trite." Or, "its just Red Scare propaganda." Pish-posh. I like THE MANCHURIAN CANDIDATE just much as the next guy (non-gender specific), but come on. Yes, Angela Lansbury is the best villain this side of John Huston in CHINATOWN and James Gregory...well, he's always wonderful...but talk about Red Scare and stand-up-and-salute movies. Dana Andrews plays the Dana Andrews character (poor set-upon schmoo) as only Dana Andrews can. And THE FEARMAKERS goes beyond the obvious political machinations and into the far subtler public relations and lobbying arena (not to mention the brainwashing by the Chinese during the Korean War and the further development of such techniques in the U.S. afterwards)...five years before THE MANCHURIAN CANDIDATE.

One of Tourneur's motifs is the outsider trying to integrate (or, reintegrate) himself into his community. THE FEARMAKERS has this in spades (even Angela's Queen. Or was it hearts? Or diamonds?). Andrews, ex-POW and ex-business owner, trying to make it back into his peacetime profession. Mel Torme, a shy sex obsessed nerd, wanting to be a man. Dick Foran, shyster and ex-underling, wanting to play with the Big Boys. Tourneur, as is his style, treats each character objectively and respects the audience enough to let it draw its own conclusions as to whether any character is good or bad and whether the danger is on the surface or engrained.

STOLEN IDENTITY (Gunther von Fritsch, 1953) is another Dewster sleeper. Produced by Turhan Bey! It took me awhile to get into this Viennese tale of...guess what ...stolen identity, but the German Expressionistic cinematography won me over. Note that IMDb lists von Fritsch as the co-director of CURSE OF THE CAT PEOPLE.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
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ChiO
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by ChiO »

Last night was, along with JOHNNY COOL/COP HATER, the most eagerly awaited pairing of the festival: THE LADY AND THE MONSTER (George Sherman, 1944) and DARK WATERS (Andre De Toth, 1944). Not only joined by our host, Dewey, but the elusive Mook Ryan, we settled in for the atmospherics.

My dream noir has been one directed by Edgar G. Ulmer and shot by John Alton. THE LADY AND THE MONSTER, the first film rendering of Curt Siodmak's novel, Donovan's Brain, may be as close as I ever get to that dream. With the most elaborate sets that Republic may have ever had, this is the earliest example I've seen of the classic Alton: high contrast, light sources from some other planet, and shadows everywhere. Erich von Stroheim, the finest director-actor after Orson Welles, plays a scientist in a "castle" in the contemporary Arizona desert who experiments in keeping brains alive after their hosts have died. He succeeds, but the brain telepathically takes over the brain of Stroheim's assistant. Who is the monster of the title: Stroheim's scientist, the brain that wants murder, the assistant carrying out the brain's demands? Alton's lighting keeps the audience guessing. Where's the DVD release of this horror noir treasure?

Still in 1944, but moving from the Arizona desert to the Louisiana bayou (who sez noir has to be in the city?), DARK WATERS is my favorite Southern gothic noir. The underappreciated SSO fave De Toth takes us into the swamp of the locale and the psyche, anticipating in some respects the territory covered a year later by Joseph H. Lewis in MY NAME IS JULIA ROSS. Starring Merle Oberon (yes, she's lovely) and Franchot Tone, it is Thomas Mitchell and Elisha Cook that carry the acting load with excellent support from Fay Bainter and John Qualen. John Huston was an uncredited co-writer. And, thankfully, the print was much better than my Taiwanese DVD.

The Roxie Crowd loved them.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
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ChiO
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by ChiO »

Yesterday was a Dashiell Hammett kind of day -- overcast and raining (I saw no trucks sprinkling the sidewalks, Judith), forcing me more than once to seek shelter in establishments with long wooden stool-high tables. Perfect for what awaited on my last night at the Roxie.

A W. ("Willie") Lee Wilder movie will seldom be confused with one by his younger brother. In 1945, he produced his first movies, THE GREAT FLAMARION and STRANGE IMPERSONATION. THE GLASS ALIBI (1946) was his first directing effort and, like his earlier two films, it is a twisted no-budget tale. The plot turns are the only elaborate part in this story of an ethically challenged reporter, his cop pal, his femme fatale gal who is also the girlfriend of a mobster, and his rich sweet only-a-few-months-to-live new wife whose fortune is...well...to die for. Far more fun than a screenful of DOUBLE INDEMNITYs and THE LOST WEEKENDs, this is Poverty Row at its Poverty Rowiest. Not to be missed!

After that dark saga, SECRETS OF MONTE CARLO (George Blair, 1951) seemed like a comedy, and it had more intentionally funny bits than the standard noir. Warren Douglas (I swear he was channeling Robert Cummings), an American buyer of fireworks gets mixed up with some jewel thieves in Monte Carlo, all on their way to Hong Kong. One of the thieves is the glorious June Vincent and she thinks she has little need for all of her accomplices. Fireworks do indeed result.

Thanks to Dewey for yet another huge programming success. He definitely needs to take these shows on the road, and I suggest Chicago as the first stop. His programs are far more creative and interesting than what we have in store for us in the Windy City in August. I've now officially been spoiled. We want Dewey!
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
jdb1

Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by jdb1 »

ChiO wrote:Yesterday was a Dashiell Hammett kind of day -- overcast and raining (I saw no trucks sprinkling the sidewalks, Judith), forcing me more than once to seek shelter in establishments with long wooden stool-high tables. Perfect for what awaited on my last night at the Roxie.


Thanks to Dewey for yet another huge programming success. He definitely needs to take these shows on the road, and I suggest Chicago as the first stop. His programs are far more creative and interesting than what we have in store for us in the Windy City in August. I've now officially been spoiled. We want Dewey!
Really, Chi-Dawg, why would the trucks be sprinkling when it was already raining? Those trucks are for the dry days of noir.

Now here's an urgent plea to the Dewster: NYC is so tragically devoid of the classic noirs now, it makes me cry bitter tears. Not to say there are none on offer from time to time, but those opportunities are fewer and farther in between these days. If you want to see a Marxist/Expressionist homage from the nascent film industry of, say, Burkina Faso, then NYC is the venue for you, but if you want to see onscreen tough guys in suits with broad lapels and femme fatales with five quarts of lacquer in their hair (all of them smoking, of course), you'll have a hard time finding any unless you turn on TCM.

What a disservice to the 9 or 14 zillion young people who have come to New York from the Hinterlands because they saw it on TV and thought it looked cool. Nobody is showing them their American cinematic heritage. Am I being too jingoistic? Too bad. There wouldn't be a Burkina Faso film industry to speak of if there hadn't been a Classic Hollywood first.

Dewster, there's got to be some moviehouse somewhere in NYC which is run by a noir fan and which will give you time and space to run one of your tempting programs. Please. Don't make me beg. If you show them, they will come.
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by Dewey1960 »

ChiO - Thanks for not only being here (incredible unto itself) but thanks too for your wonderful postings about the program. This has been the most rewarding series I've done so far. The crowds have been terrific, both in size and appreciation. With two more WHISTLERS to go (tonight and tomorrow night) anticipation is running high! We miss you already!
Judith - I would love to bring a show like this to NYC. But there are numerous obstacles, mostly relating to technical issues. Many of these films are 16mm prints and very few venues can accommodate that. For the most part, it's an outmoded format and hardly any theaters utilize it. The second problem centers around the 35mm archive prints. The studios are extremely fussy about who they let play these prints. Only theaters with a dual projector system (alternating projectors playing one reel at a time, synchronized to play seemlessly; very old school). The vast majority of theaters today have abandoned this system in favor of the modernized "platter" system whereby the film is broken down and spliced together on one huge reel. The studios absolutely forbid these prints to be played on a "platter" system for the obvious reason that it beats the heck out of the print. Virtually the only major venue in NYC with a dual projection system is Film Forum. Their programmers are highly competitive and would never allow for an interloper to descend upon their hallowed ground. Now that these WHISTLER films are available through Columbia Pictures (SONY), Film Forum will no doubt put together their own series. That's how these things generally work. Once word gets out that new prints of classic, obscure films (especially noir) are available, all the usual suspects come crawling out of the woodwork. It would be tres groovy to spend some time in NYC with these films (or Chicago too, for that matter) but I think the likelihood at this time is pretty slim.
jdb1

Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by jdb1 »

Alas and alack, Dew-Dew.

So what can I do to help things along? Who can I nag -- oops, I mean "reach out" to? Perhaps there are some private/academic venues where we can make inquiries? If there's a public clamoring (me, et al.) rather than a professional one (you), maybe someone will listen in the hope that there's a buck or two to be made from it. By the way, I haven't been too impressed with the oldies on offer at the Film Forum lately. They used to be much better; there isn't much there you can't already see on TCM/Fox, or online.

Let me know what you think may help. (I don't know if you've noticed, but I'm not shy.) There are more SSO-ers in the NY Metropolitan Area than just me, and I suppose we can make our collective voices heard in the name of Classic Film. All it takes a bit of organization, and someone willing to be the organizer.

PM me if you get a brainstorm at some point.
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by Mr. Arkadin »

Well, how did things wrap up Mr. D.? And how about a touching farewell from our reporter on the scene, leaving part of his heart at the Roxie in SF (or perhaps just his gum under the seat)? :P
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ChiO
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by ChiO »

And how about a touching farewell from our reporter on the scene
Well, Dewey and I did shake hands as we bid farewell. That's about as "touching" as the farewell got. There's no room for sentiment at the Roxie.

Thirteen movies were watched, eight of which were first time viewings for me.

With appropriately Cannes-do spirit, these are my wholly biased awards for May 19 through May 25.

Favorite Adaptation from a Ratty DVD -- THE RED HOUSE: The print Dewey showed made it as if I'd never seen this movie before. Runner-up (because my DVD just isn't ratty enough): DARK WATERS.

Favorite Actor in a Dual Role -- Don Castle: The only nominee, but his performance(s) in ROSES ARE RED is (are) worth noting.

Favorite Display of Hitherto Unknown Acting Chops -- The great Greek tough guy, Telly Savalas in JOHNNY COOL, who stretches his range to portraying an Italian tough guy. (Great idea for a TCM thread: What? No Italians were available for the role?)

Favorite Actor in a Supporting Role in a Previously Seen Movie -- Very tough category, but gotta go with Thomas Mitchell in DARK WATERS. Cold and calculating, this was just a warm-up for Uncle Billy. Runner-up: Mel Torme, sweating velvety fog bullets throughout THE FEARMAKERS.

Favorite Actor in a Supporting Role in a Previously Unseen Movie -- Another tough one, but Jeff "Knuckles" Chandler in ROSES ARE RED edges out Mort Sahl in JOHNNY COOL.

Favorite Actress in a Supporting Role in a Previously Seen Movie -- Shirley Ballard by a mile for heating up the screen in COP HATER.

Favorite Actress in a Supporting Role in a Previously Unseen Movie -- It could be considered a leading role, but who cares? Vera Ralston in THE LADY AND THE MONSTER.

Favorite Performance by a Former Director with a Teutonic Sounding Surname -- Erich von Stroheim in THE LADY AND THE MONSTER.

Favorite Cinematography Involving Shadows -- THE LADY AND THE MONSTER. Cinematographer: John Alton (cue standing ovation).

Favorite Film That Doesn't Seem Like It Should Be Great -- LIGHTHOUSE. When a movie this cheap looks this good and has a banal plot that somehow keeps one engrossed because, golly, it's gotta go somewhere, but it doesn't and still is great...well, kudos all around.

Favorite Anti-Nepotism Movie -- THE GLASS ALIBI, directed by W. Lee Wilder.

Favorite Previously Unseen Movie That Would Eat, Drink & Sleep Poverty Row If It Only Had the Budget -- THE GLASS ALIBI, directed by W. Lee Wilder.

Favorite Movie Because Honest-To-Goodness It Really Is Great and Only Gets Better With Each Viewing -- COP HATER. There is not a weak performance anywhere in this movie. Robert Loggia...Shirley Ballard...Vincent Gardenia...Jerry Orbach...and all the rest are magnificent. The grit and sleaze of the city and the story are in every frame. Directed by one of the Poverty Row greats, William Berke. Wow, wow, and wow! If I left my heart in San Francisco, it's because this movie cut it out and tossed it somewhere around 16th and Mission. This is the stuff (bad) dreams are made of. (Huh?)
Last edited by ChiO on May 28th, 2010, 10:28 am, edited 1 time in total.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by Lzcutter »

Elliot,

I am so sorry I missed your final night of velvet darkness also known as film noir. I had a rotten day at work (sync problems with a piece I am cutting on deadline, I now have more gray hair). By the time I was able to come up for breath, your wonderful final night of films had started.

I am bereft at missing the "good" Whistler movie.

I can only hope that Mike Schlesinger is able to get them to disc before I am too old to remember them!

As for New York, you might check the film schools there. I know USC has two places that can run 35mm and 16mm old school, two Century projectors and that change-over button. Ah, those were the days of projecting (and hyperventilating). Miss that change-over and you were chagrined for days, if not weeks. Columbia or one of the other established NYC film schools might have a similar set-up.

If you ever wanted to take your show to Los Angeles, the Egyptian has dual projection as does Norris Theater on the USC campus and Norris is equipped for 16 as well. I believe the Egyptian might be, too.
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Re: I STILL WAKE UP DREAMING! More RARE NOIR at the ROXIE

Post by jdb1 »

Lzcutter wrote: As for New York, you might check the film schools there. I know USC has two places that can run 35mm and 16mm old school, two Century projectors and that change-over button. Ah, those were the days of projecting (and hyperventilating). Miss that change-over and you were chagrined for days, if not weeks. Columbia or one of the other established NYC film schools might have a similar set-up.

If you ever wanted to take your show to Los Angeles, the Egyptian has dual projection as does Norris Theater on the USC campus and Norris is equipped for 16 as well. I believe the Egyptian might be, too.
I was thinking film schools as well, Lynn. In particular, I'm thinking of a film studies professor at City College, Jerry Carlson, who hosts a movie broadcast on Saturday nights on the City University channel on cable. He shows obscure foreign movies, and American oldies as well (most of the oldies run are in deplorable condition, though). There is intro, and usually discussion with film mavens for outro. This month, along with the customary assortment of Chinese and Taiwanese films, he has A Walk in the Sun, Angel on My Shoulder, and The Giant Gila Monster programmed. Here is a link to info on the series, called City Cinematheque -- http://www.cuny.tv/series/citycine/index.lasso

Do you know him, Dew? I don't know him personally, but If you like, I"ll make overtures as a fan, and see if he has any suggestions as to venue. NYU Film School is another obvious place, although I find them rather snooty to anyone they consider an amateur or outsider. Only trouble with the academic scene now is that college terms are over, and most of the faculty is probably well on its way to elsewhere.
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