" Crossfire ", "Murder, My Sweet ", " Thet Won't Believe Me, and "Out of the Past ". Great Pre - Hellinger Universal Noirs include " Phantom Lady ", and " The Suspect ". Let us not forget Fox great Noirs either.
Best Studio for Noirs
Best Studio for Noirs
Producer Mark Hellinger released his his great Noirs " The Killers ", "Brute Force ", and " The Naked City ", he also did the pre - production work on " Criss Cross ", before he died. But overall I believe for the large number of Noir Films Produced RKO is tops. They Produced
" Crossfire ", "Murder, My Sweet ", " Thet Won't Believe Me, and "Out of the Past ". Great Pre - Hellinger Universal Noirs include " Phantom Lady ", and " The Suspect ". Let us not forget Fox great Noirs either.
" Crossfire ", "Murder, My Sweet ", " Thet Won't Believe Me, and "Out of the Past ". Great Pre - Hellinger Universal Noirs include " Phantom Lady ", and " The Suspect ". Let us not forget Fox great Noirs either.
I vote for Universal. film noir seemed to be one of the few times this studio ever caught and developed a genre from the start (perhaps next to the horror film) rather than trying to leap on the bandwagon a few years late.
I can't imagine film noir without "The Killers," "Criss Cross" "Brute Force" and "The Naked City." "Black Angel," which stars Dan Duryea but wastes Peter lorre in a red herring role, is also fun.
I can't imagine film noir without "The Killers," "Criss Cross" "Brute Force" and "The Naked City." "Black Angel," which stars Dan Duryea but wastes Peter lorre in a red herring role, is also fun.
MikeBSG wrote: "I vote for Universal."
It's nice to hear Universal mentioned in a conversation such as this one. Usually RKO generates most of the attention, but Mike's point is very well made; Universal's contributions to film noir are unmistakably valuable and important. Personally, I would call it a tie betwixt the two.
It's nice to hear Universal mentioned in a conversation such as this one. Usually RKO generates most of the attention, but Mike's point is very well made; Universal's contributions to film noir are unmistakably valuable and important. Personally, I would call it a tie betwixt the two.
MikeBSG wrote:
"Is it just me, or does Warner Brothers seem to drop out of the noir sweepstakes pretty fast after "The Big Sleep" is released?"
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Warner Bros never really was in the noir sweepstakes, not seriously at least. THE MALTESE FALCON is often cited as an early noir and it certainly has any number of the attributes associated with that style of film: duplicity, femme fatale, etc. But what it truly lacks is a noir look (although it's a nicely shot film, it suffers visually by comparison to the films being made at RKO and even FOX during the same period). THE BIG SLEEP (1946), WHITE HEAT (1949), POSSESSED (1947), THE UNFAITHFUL (1947) and MILDRED PIERCE (1945) (and probably a small handful of others which don't come immediately to mind) come the closest to adhering to the noir ethos, but beyond that, the Warner output in general lags way behind the other studios.
"Is it just me, or does Warner Brothers seem to drop out of the noir sweepstakes pretty fast after "The Big Sleep" is released?"
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Warner Bros never really was in the noir sweepstakes, not seriously at least. THE MALTESE FALCON is often cited as an early noir and it certainly has any number of the attributes associated with that style of film: duplicity, femme fatale, etc. But what it truly lacks is a noir look (although it's a nicely shot film, it suffers visually by comparison to the films being made at RKO and even FOX during the same period). THE BIG SLEEP (1946), WHITE HEAT (1949), POSSESSED (1947), THE UNFAITHFUL (1947) and MILDRED PIERCE (1945) (and probably a small handful of others which don't come immediately to mind) come the closest to adhering to the noir ethos, but beyond that, the Warner output in general lags way behind the other studios.
Mike asked: "What about Paramount's noirs?"
Paramount was indeed responsible for many fine noir films and most of them were photographed by John Seitz. Seitz was an excellent craftsman and his work on the Wilder films, as well as THIS GUN FOR HIRE, THE BIG CLOCK, THE NIGHT HAS A THOUSAND EYES and others is definitely stellar. But unlike the noirs from RKO and Universal, his Paramount pictures all lack the high contrast look (and feel) that so completely defines the style. Seitz also shot a lot of comedies (some of the Preston Sturges films) as well as films in most every other genre. Curiously, they all share a similar look, as if a layer of gauze had been stretched across the camera lens. Which is pretty much the "Paramount style" in a nutshell.
Paramount was indeed responsible for many fine noir films and most of them were photographed by John Seitz. Seitz was an excellent craftsman and his work on the Wilder films, as well as THIS GUN FOR HIRE, THE BIG CLOCK, THE NIGHT HAS A THOUSAND EYES and others is definitely stellar. But unlike the noirs from RKO and Universal, his Paramount pictures all lack the high contrast look (and feel) that so completely defines the style. Seitz also shot a lot of comedies (some of the Preston Sturges films) as well as films in most every other genre. Curiously, they all share a similar look, as if a layer of gauze had been stretched across the camera lens. Which is pretty much the "Paramount style" in a nutshell.
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Mr. Arkadin
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THE NIGHT HAS A THOUSAND EYES is a one-of-a-kind noir, a brilliantly melancholy film featuring one of Edward G. Robinson's best performances. He plays John Triton, a man cursed with the gift of "second sight." His ability to predict future events eventually turns him into a lonely recluse until a beautiful and mysterious young woman (the incredible, tragic Gail Russell) draws him out. His is a torturous performance and he's matched every step of the way by Miss Russell. I wouldn't want to reveal too much about the storyline (besides, you've probably read numerous synopses) but all you need know is that it's adapted from a Cornell Woolrich novel (here writing under the name of William Irish or George Hopley--depending on which edition you find). Regardless, Woolrich has infused enough of his own personal doom and gloom onto this story to forever enshrine it in the annals of pure gothic noir. Very few noirs (seriously) have achieved such an ultimate pastiche of sadness and hopelessness. It must be seen to be believed.
For reasons I'm not entirely clear on, this film has never had a proper home video release. Numerous non-studio VHS versions surfaced in the 1980s of variable quality. A DVD release would be something to celebrate.
For reasons I'm not entirely clear on, this film has never had a proper home video release. Numerous non-studio VHS versions surfaced in the 1980s of variable quality. A DVD release would be something to celebrate.
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Mr. Arkadin
- Posts: 2645
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Thanks, yes I know the basic plot, but that really can't tell you whether a film is good or not. How come we don't have an Eddie G. box set?!
Most films with Robinson are usually pretty good which is an amazing feat. I don't know if he just knew how to pick 'em or what. I am also pleased to finally see TCM planning to show Woman in the Window (1944) in the near future. That's a fun one!
Most films with Robinson are usually pretty good which is an amazing feat. I don't know if he just knew how to pick 'em or what. I am also pleased to finally see TCM planning to show Woman in the Window (1944) in the near future. That's a fun one!
Most of Robinson's 1930s Warner Bros gangster films (and their comic variants) have been covered in variety-pack box sets already. Beginning in the mid-1940s, after leaving Warners, EGR worked for most of the major studios, making a box set of that material problematic. But he was everywhere in the 40s: he did the poignant OUR VINES HAVE TENDER GRAPES for MGM, DOUBLE INDEMNITY and NIGHT HAS A THOUSAND EYES at Paramount, ALL MY SONS and the two Fritz Lang films WOMAN IN THE WINDOW and SCARLET STREET for Universal, HOUSE OF STRANGERS for Fox and THE STRANGER and THE RED HOUSE for independenet producers (which I believe were originally released through United Artists). It's funny how his 30s films are usually the ones that generate the most conversation, but it wasn't until the 40s that he became a fully realized, mature actor.
HOUSE OF STRANGERS, DOUBLE INDEMNITY, OUR VINES HAVE TENDER GRAPES, WOMAN IN THE WINDOW, SCARLETT, and KEY LARGO are six of the great film ( male ) performances of all time, and crearky outshines any of Eddie G's 1930's work.Dewey1960 wrote:Most of Robinson's 1930s Warner Bros gangster films (and their comic variants) have been covered in variety-pack box sets already. Beginning in the mid-1940s, after leaving Warners, EGR worked for most of the major studios, making a box set of that material problematic. But he was everywhere in the 40s: he did the poignant OUR VINES HAVE TENDER GRAPES for MGM, DOUBLE INDEMNITY and NIGHT HAS A THOUSAND EYES at Paramount, ALL MY SONS and the two Fritz Lang films WOMAN IN THE WINDOW and SCARLET STREET for Universal, HOUSE OF STRANGERS for Fox and THE STRANGER and THE RED HOUSE for independenet producers (which I believe were originally released through United Artists). It's funny how his 30s films are usually the ones that generate the most conversation, but it wasn't until the 40s that he became a fully realized, mature actor.
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Mr. Arkadin
- Posts: 2645
- Joined: April 14th, 2007, 3:00 pm
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klondike
> [quote="Dewey1960"]THE NIGHT HAS A THOUSAND EYES is a one-of-a-kind noir, a brilliantly melancholy film featuring one of Edward G. Robinson's best performances. He plays John Triton, a man cursed with the gift of "second sight." His ability to predict future events eventually turns him into a lonely recluse until a beautiful and mysterious young woman (the incredible, tragic Gail Russell) draws him out. His is a torturous performance and he's matched every step of the way by Miss Russell. I wouldn't want to reveal too much about the storyline (besides, you've probably read numerous synopses) but all you need know is that it's adapted from a Cornell Woolrich novel (here writing under the name of William Irish or George Hopley--depending on which edition you find). Regardless, Woolrich has infused enough of his own personal doom and gloom onto this story to forever enshrine it in the annals of pure gothic noir. "
I remember seeing "The Night Has a Thousand Eyes" when I was eleven years old, and getting creeped out on some various, subtle levels that no movie had, at that time, brought me to.
I also remember having that mantle of "delicious gloom" hanging around my concious mind for nearly a week afterward; it sort of reminded me of the schlocky-but-wickedly-affective TV series "One Step Beyond", but somehow more palpable, more surreal - due no doubt to the superior production values of a theatrical movie in contrast to an half-hour syndicated feature.
I've been privileged to catch this diamond in the rough twice as an adult, and can now better analyze the way in which it weaves its "spell" . . but damn, y'know, it still works for me, just as powerfully as ever!
Klondike
I remember seeing "The Night Has a Thousand Eyes" when I was eleven years old, and getting creeped out on some various, subtle levels that no movie had, at that time, brought me to.
I also remember having that mantle of "delicious gloom" hanging around my concious mind for nearly a week afterward; it sort of reminded me of the schlocky-but-wickedly-affective TV series "One Step Beyond", but somehow more palpable, more surreal - due no doubt to the superior production values of a theatrical movie in contrast to an half-hour syndicated feature.
I've been privileged to catch this diamond in the rough twice as an adult, and can now better analyze the way in which it weaves its "spell" . . but damn, y'know, it still works for me, just as powerfully as ever!
Klondike
klondike wrote: "I also remember having that mantle of "delicious gloom" hanging around my concious mind for nearly a week afterward; it sort of reminded me of the schlocky-but-wickedly-affective TV series "One Step Beyond", but somehow more palpable, more surreal - due no doubt to the superior production values of a theatrical movie in contrast to an half-hour syndicated feature."
Part of the reason for this was the straight-ahead, realistic direction by John Farrow, who was able to take what was essentially supernatural material and turn it into something resembling an everyday occurance. That, and the soulfully hypnotic presence of Mr. Robinson and Miss Russell. Another classic awaiting rediscovery.
Part of the reason for this was the straight-ahead, realistic direction by John Farrow, who was able to take what was essentially supernatural material and turn it into something resembling an everyday occurance. That, and the soulfully hypnotic presence of Mr. Robinson and Miss Russell. Another classic awaiting rediscovery.