The Finest Noir Director
Good morning all.
Correct me if I'm wrong, but didn't Ida Lupino also eave her mark upon film noir? It seems she also took on a number of subjects that others avoided (something I learned from a TCM featurette on her.) The fact that she was a woman also broke new ground at that time, didn't it? Thanks...
As always,
Hollis
Correct me if I'm wrong, but didn't Ida Lupino also eave her mark upon film noir? It seems she also took on a number of subjects that others avoided (something I learned from a TCM featurette on her.) The fact that she was a woman also broke new ground at that time, didn't it? Thanks...
As always,
Hollis
- Sue Sue Applegate
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Siodmak, Tourneur, Wilder, Lang...I enjoyed them all.
Rhonda Fleming was wonderful in Out of the Past. I also enjoyed her in A Connecticut Yankee in King Arthur's Court. She has a website and someone provides a response for questions and well wishes....
Rhonda Fleming was wonderful in Out of the Past. I also enjoyed her in A Connecticut Yankee in King Arthur's Court. She has a website and someone provides a response for questions and well wishes....
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Twitter:@suesueapplegate
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Thelma Ritter: Hollywood's Favorite New Yorker, University Press of Mississippi-2023
Avatar: Ginger Rogers, The Major and The Minor
Sorry for dredging up an old thread, but cut the newbie some slack....
Siodmak is wonderful, Wilder superb. Preminger is great. Lang has quantity and quality. Welles...well, my favorite director, period. But this thread cannot die without a mention of Anthony Mann.
STRANGE IMPERSONATION (1946)
T-MEN (1947)
RAILROADED (1947)
DESPERATE (1948)
RAW DEAL (1948)
HE WALKED BY NIGHT (1948)
REIGN OF TERROR aka THE BLACK BOOK (1949)
BORDER INCIDENT (1949)
SIDE STREET (1950)
And I wouldn't argue with anyone who wanted to add some of his Westerns to the list.
Plus, five of the above had a fine (note: that is an example of understatement) cinematographer, John Alton.
There -- now the thread can slink back into the shadows.
Siodmak is wonderful, Wilder superb. Preminger is great. Lang has quantity and quality. Welles...well, my favorite director, period. But this thread cannot die without a mention of Anthony Mann.
STRANGE IMPERSONATION (1946)
T-MEN (1947)
RAILROADED (1947)
DESPERATE (1948)
RAW DEAL (1948)
HE WALKED BY NIGHT (1948)
REIGN OF TERROR aka THE BLACK BOOK (1949)
BORDER INCIDENT (1949)
SIDE STREET (1950)
And I wouldn't argue with anyone who wanted to add some of his Westerns to the list.
Plus, five of the above had a fine (note: that is an example of understatement) cinematographer, John Alton.
There -- now the thread can slink back into the shadows.
- movieman1957
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Welcome ChiO:
That's one of the nice things about being a relatively new site; none of the threads are that old. We do appreciate your looking for something in reference to what you want to say rather than helter-skelter starting a new thread. Too often there can be two or three threads all pertaining to the same actor or movie. I have spent a lot of time going back to find old threads, but sometimes your eye just misses what you want, and/or often you go into a thread and find the postings are altogether different from what the title seemed to suggest.
Anne
Anne
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Right there with you on the Mann-directed westerns, especially the often-ignored DEVILS DOORWAY (1950), with stunningly beautiful black & white cinematography by John Alton. One of that great director's most noirish westerns and a film in desperate need of more exposure. A dvd release certainly wouldn't hurt.
- moira finnie
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Re: The Finest Noir Director
I'm not sure if Fritz Lang (or anyone else) deserves the title of this thread, but for the next two weeks, the Film Forum in NYC is conducting a look at Fritz Lang in Hollywood screening 22 movies by this director. Here's an article from the NY Times explaining what a tough time Fritz had (and how many people he managed to alienate in the process.
Fritz Lang with the one creature who never got sick of being yelled at, on or off the set. Peter the Toy Monkey, whom he treated like a son.
Fritz Lang with the one creature who never got sick of being yelled at, on or off the set. Peter the Toy Monkey, whom he treated like a son.