Favorite #FilmNoir Featuring Food
THIEVES’ HIGHWAY (1949), as tangy as the Golden Delicious apples at its core.
Favorite #FilmNoir Featuring Food
THIEVES’ HIGHWAY (1949), as tangy as the Golden Delicious apples at its core.
Favorite #FilmNoir Featuring a Boat
THE BREAKING POINT, where the malaise of impending middle age meets the disillusion of the postwar era. Ernest Hemingway called it the best adaptation of any of his novels; John Garfield called it his best performance. Can’t argue.
Favorite #FilmNoir Featuring a Boat
THE BREAKING POINT, where the malaise of impending middle age meets the disillusion of the postwar era. Ernest Hemingway called it the best adaptation of any of his novels; John Garfield called it his best performance. Can’t argue.
Day 22 #NoirvemberChallenge
Favorite Musical Performance in a #FilmNoir
Vic Damone’s “Don’t Blame Me” in THE STRIP (1951), its lyric reflecting Mickey Rooney‘s obsession with Sally Forrest. Dig that crazy coda!
Day 22 #NoirvemberChallenge
Favorite Musical Performance in a #FilmNoir
Vic Damone’s “Don’t Blame Me” in THE STRIP (1951), its lyric reflecting Mickey Rooney‘s obsession with Sally Forrest. Dig that crazy coda!
Favorite Musical Performance in a #FilmNoir
Sorry, Rita, not you; put the blame on Veronica Lake, for this noir number I watch more than any other. It’s fitting that Frank Loesser wrote a lyric about sleight of hand, since nothing in This Gun for Hire is what it seems.
Favorite Musical Performance in a #FilmNoir
Sorry, Rita, not you; put the blame on Veronica Lake, for this noir number I watch more than any other. It’s fitting that Frank Loesser wrote a lyric about sleight of hand, since nothing in This Gun for Hire is what it seems.
Favorite Gambling Scene in a #FilmNoir
The rigged poker game in DARK CITY (1950). Director William Dieterle’s canted angles, telling two-shots and smoke-filled room – revealing some hands but not others – creates a card game as tense as any I’ve seen onscreen.
Favorite Gambling Scene in a #FilmNoir
The rigged poker game in DARK CITY (1950). Director William Dieterle’s canted angles, telling two-shots and smoke-filled room – revealing some hands but not others – creates a card game as tense as any I’ve seen onscreen.
Favorite #filmnoir Opening
PITFALL’s opening captures the stifling impact of a 9-to-5 existence. John feels like “a wheel within a wheel.” Wife Sue replies, “You and 50 million others,” and he whines, “I don’t want to be like 50 million others.” And that leads to trouble…
Favorite #filmnoir Opening
PITFALL’s opening captures the stifling impact of a 9-to-5 existence. John feels like “a wheel within a wheel.” Wife Sue replies, “You and 50 million others,” and he whines, “I don’t want to be like 50 million others.” And that leads to trouble…
BUY THIS. Seriously!
BUY THIS. Seriously!