Noir Alley

[ClassyCo]

I'm borrowing the title for this thread from TCM, who has a block on their channel that is often dedicated to classic film noirs. A "film noir" is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with low-key, black-and-white visual style that has its roots in German Expressionist camera work.

The term "film noir", French for "black film" (literal translation) or "dark film" (closer meaning), was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era. Cinema historians and critics defined the category respectively. Before the notion was widely adopted in the 1970s, many classic film noirs were called "melodramas". Whether film noir qualifies as a distinct genre or whether it is more of a filmmaking technique is a matter of ongoing debate among historians.

Film noir has become one of my favorite classic Hollywood sub-genres. Prototypes of the genre, such as LAURA (1944) and SUNSET BOULEVARD (1950), are downright good movies and bring us fine, strong performances from the likes of Gene Tierney and Gloria Swanson, respectively. I don't own a lot of film noirs, nor have I seen several, but I do like reading about them, and I often long to explore the films within this canon more.

Any fans of the noir sub-genre? Anyone have any favorite movies they'd like to share?
​

 

[ClassyCo]

One of my favorite old school film noirs is MILDRED PIERCE, the 1945 star vehicle for Joan Crawford, which earned the actress her only Academy Award as the year's Best Actress.

The movie actually combines a few different genres. Earlier in her career, Crawford had specialized in "women's pictures", playing the shop girl who makes good in a string of rags-to-riches stories that were extremely popular with audiences during the Great Depression. MILDRED PIERCE employs elements common among women's pictures, wherein the titular character moves her way up the social ladder by owning a string of diners. Likewise, the movie elements of the film noir, wherein a murder and the aftermath are both essential to the plot.

MILDRED PIERCE is beautifully photographed, and, in my opinion, offers us the best performance of Joan Crawford captured on film. It was a big hit in theaters in 1945, and Crawford received glowing notices for her first film since she was booted out by MGM in 1943.

One of the main things that attracts me to MILDRED PIERCE is the mother/daughter relationship that drives the story. Mildred will do anything for her oldest daughter Veda, but Veda was apparently born without a heart. That girl is vicious towards her mother, and treats her very badly.

Any fans of this one?

 

[ClassyCo]

I've always been the type to like things that are atypical of their breed. Any film fan will tell you that traditional film noir is photographed in B&W, but one of my personal favorites of the sub-genre is NIAGARA, the 1953 noir shot in glorious Technicolor.

On the surface, NIAGARA is crafted as a star-making vehicle for Marilyn Monroe, the emerging "Queen of Fox" in late 1952 when this movie was filmed. She plays the beautiful young bride of war veteran Joseph Cotten, but she's tired of the marriage and she and her young lover plan on having her husband killed. A lot of drama circulates the proposed murder and aftermath, and Jean Peters and Casey Adams, those sweet-young-things, get tangled up in all the mess.

NIAGARA goes against the norm and looks stunning in color. Even so, the movie still has the "feel" of traditional noirs, and employs some of the more clichéd plot lines, such as murder and a femme fatale reaching a fatal end.

The movie was very popular when it premiered in early 1953, and it helped Monroe push Fox heavyweights, such as Betty Grable, off their throne at the studio. Her other two films that year -- GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIRE -- were even greater successes, solidifying Monroe's status as the industry's biggest box office star.

Any fans of this one?

 

[DallasFanForever]

Any fans of this one?

Mildred Pierce is one of my favorite movies. The performances alone are worth watching it for. The dynamic between Mildred and Veda is quite fascinating. Nothing Mildred did was ever enough to make her happy. And yet despite all the resentment she loved her daughter right up until the end.

 

[ClassyCo]

Mildred Pierce is one of my favorite movies. The performances alone are worth watching it for. The dynamic between Mildred and Veda is quite fascinating. Nothing Mildred did was ever enough to make her happy. And yet despite all the resentment she loved her daughter right up until the end.

MILDRED PIERCE is easily one of my favorite classic films. Not only is it beautifully photographed, I'd argue that it gives us the strongest performance of Crawford's career, even over POSSESSED (1947), which many consider her finest performance. Ann Blyth and Eve Arden are good counterparts to Joan, and I like Jack Carson and Zachary Scott in the cast as well.​

 

[DallasFanForever]

MILDRED PIERCE is easily one of my favorite classic films. Not only is it beautifully photographed, I'd argue that it gives us the strongest performance of Crawford's career, even over POSSESSED (1947), which many consider her finest performance. Ann Blyth and Eve Arden are good counterparts to Joan, and I like Jack Carson and Zachary Scott in the cast as well.​

It’s a great movie! Well written and acted. It’s by far my favorite performance of Joan but I know most would probably disagree.

 

[ClassyCo]

It’s a great movie! Well written and acted. It’s by far my favorite performance of Joan but I know most would probably disagree.

Most Crawford fans would say she gave her best performance in POSSESSED, the 1947 version, and that she was at her most physically attractive in HUMORESQUE.

But I'd argue that she gave both her best performance and looked the most attractive in MILDRED PIERCE.

The only thing I found more attractive about Crawford in HUMORESQUE was her hair. Her stylist gave her a more flattering hairstyle in the latter film.

 

[ClassyCo]

One of the first film noirs I ever saw was I WAKE UP SCREAMING, the 1941 film starring Betty Grable, Victor Mature, Carole Landis, and Laird Cregar. What's interesting about this movie is that it offers one of the rare instances where Grable ventured away from her typical musical comedy fare that was her forte in the 1940s and early-to-mid-'50s. Grable is stunning in this movie, and it is beautifully photographed in B&W, which also goes against the norm for Grable, who was almost always filmed in Technicolor.

I WAKE UP SCREAMING is a prime example of a film noir, as the majority of its story is told through flashbacks. The basic premise concerns the life, death, and aftermath of model Vicky Lynn (Landis) and the effect it has on her sister Jill (Grable) and sports promoter/suitor Frankie (Mature). Without spoiler the outcome for those that might want to be surprised, Cregar plays a creepy and crooked cop called Cornell.

Rumor has it that Fox pushed Grable into I WAKE UP SCREAMING (which was briefly called HOT SPOT, and even retained that title when released in some cities) as an effort to expand her audience base. Grable, while relatively new to the studio, had already solidified her niche as the star of lightweight and colorful musical comedies. While Fox wanted her diversify her, Grable herself was reluctant: she preferred the light musicals over heavy dramas.

Even so, I WAKE UP SCREAMING was a sizable hit when it was released, and Grable received good notices. It is a good, early addition to the film noir sub-genre, and I'd urge anyone to check it out if they haven't done so already.​

 

[DallasFanForever]

Most Crawford fans would say she gave her best performance in POSSESSED, the 1947 version, and that she was at her most physically attractive in HUMORESQUE

These are hard to argue. MP is my favorite performance but I couldn’t fault anyone for saying it’s POSSESSED. And I also though she looked her best in MP as well.

 

[ClassyCo]

I'd love to have all of the Fox Film Noir releases.

 

[cijimccashin]

I credit Laura with getting me into the genre.

The lady in the lake(1947)
The blue dahlia (1946)
The strange loves of Martha Ives (1946)
Gilda(1946)
Night if the Hunter (1955)
The maltese falcon (1941)
Touch of evil (1958)
Double indemnity (1944)

 

[Jock Ewing Fan]

I credit Laura with getting me into the genre.

The lady in the lake(1947)
The blue dahlia (1946)
The strange loves of Martha Ives (1946)
Gilda(1946)
Night if the Hunter (1955)
The maltese falcon (1941)
Touch of evil (1958)
Double indemnity (1944)

All good choices.
I think Double Indemnity is one of the best ever
Stanwyck, McMurray and Robinson are brilliant, the writing and direction is superb.
I love this genre, I can watch almost anything that is film noire

 

[cijimccashin]

All good choices.
I think Double Indemnity is one of the best ever
Stanwyck, McMurray and Robinson are brilliant, the writing and direction is superb.
I love this genre, I can watch almost anything that is film noire

Thanks!
Agree on Double Indemnity it doesn’t get enough praise imo. I love this Genre so much, and still have many more films to watch.

 

[Snarky Oracle!]

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[Snarky Oracle!]

Funny, TENSION (1949) popped up tonight on this thing I have in my den called "a television" and at first I thought it was a way-above average satire/parody of a '40s noir, probably from the '80s or '90s (the '80s had a harder time looking outside of itself, so probably the '90s) like DEAD MEN DON'T WEAR PLAID with Steve "can I use her panties to make soup?" Martin from 1982.

For one thing, Richard Basehart's hair was a bit too long in the back (I thought) and the tone of the film was oh-so-subtly contemporary (which probably resulted from a certain competent crispness in the picture). The period cliches were so on-point, and the blonde's provocative "bite" into that burger in the soda shop seemed a wee bit exaggerated, presumably on purpose.

Wasn't I amused at myself when I realized, after about 15 minutes, that it was actually a real 1940s noir movie.

But I think I'm starting to lose my faculties (old guy stuff) so it makes some sense.

 

[darkshadows38]

check out the bluray sets there are 15 of them i think with the 15th one coming out soon i think if it's not out already? i need all of them i think i will get volume 1 soon but i'm not ready for it just yet

 

[Snarky Oracle!]

Here's a good one:

 

[Snarky Oracle!]

Anyone see NIGHTMARE ALLEY (1947) with Tyrone Power and Joan Blondell?

 

[Crimson]

I haven't seen NIGHTMARE ALLEY in years, so I'm probably due for a rewatch. I recall liking it a lot. I'm especially fond of the Fox films of the 40s, not least due to their roster of stars. Tyrone Power is my favorite leading man of the era, and he had a particularly interesting phase in the post-War years as he was expanding beyond his exuberant swashbuckler image.

[makes mental note to rewatch NIGHTMARE ALLEY]

 

[ClassyCo]

Anyone see NIGHTMARE ALLEY (1947) with Tyrone Power and Joan Blondell?

I have it, but I haven't taken the time to watch it. Planning to this year for my birthday.