Crime Scene #8: ‘Detour’ – Nowheresville, USA
“‘Detour’ plays like a fever dream powered by guilt and dread; an existential noir about an American male lost in the nothingness and vastness of the country.”
Making ‘The Killing’: An Auteur and His Writer
“Kubrick was in many ways the embodiment of a new Hollywood — brilliant, creative and perhaps a bit ruthless, words that could also be used to describe his first great film, ‘The Killing.'”
Crime Scene: ‘Pickup on South Street’ and New York Networks
“‘Pickup on South Street’ is perhaps the quintessential New York noir.”
Vagabond Noirs and Tramp Westerns: The Films of Hugo Fregonese at Il Cinema Ritrovato
“Hugo Fregonese is a director ripe for rediscovery.”
The Light of Human Love and Community: On ‘Moontide’ and ‘Port of Shadows’
“‘Moontide’ and ‘Port of Shadows’ offer a fascinating study into key differences in Hollywood and European filmmaking and storytelling during the 1930s and early 1940s, a time when the studio system reigned supreme…”
Know the Cast: ‘Detour’
‘Detour’ Cast: A Vague Visages guide for every main performer and character in Edgar G. Ulmer’s 1945 film noir movie.
Lost: Akira Kurosawa Noir
“In Kurosawa’s noir films, characters struggle to move beyond loss — personal, financial and national — only to find that more loss awaits them.”
Exploring ‘Double Indemnity’ and the Problematic Feminism of Film Noir
“The representation of women in Film Noir is murky territory — in some ways progressive, in other ways deeply misogynistic — certainly when assessing Phyllis in ‘Double Indemnity.'”
Beat Cops: Police Brutality and Film Noir
“Otto Preminger’s ‘Where the Sidewalk Ends’ and Nicholas Ray’s ‘On Dangerous Ground’ gesture towards the difficult conditions under which police labor while turning a critical eye on the brutally violent detectives who abuse their power.”
Technology and Anxiety in Film Noir
“Channeled through science and machines, good ol’ American ‘know-how’ had helped win the war, save democracy and crush tyranny. It’s understandable that a similar story would percolate through to the small-scale conflicts of cops and criminals.”
There’s No One Driving the Car: ‘Hustlers’ as Neo-Noir
“From the moment Ramona first appears, ‘Hustlers’ announces itself as a new addition to the neo-noir cannon — a film about bright lights in dark places.”
The Man Who Laughs: Richard Widmark’s Early Noirs
“Widmark offers a succession of performances in ‘Kiss of Death, ‘The Street with No Name’ and ‘Road House’ that show a young actor building, then resisting, and then reconciling his own burgeoning screen persona.”
Hollywood Confronts Itself: Cynicism and Self-Doubt in the 50s
“A sense of restlessness began to be addressed tentatively, and was confronted with increasing boldness as the decade progressed. Battles were being waged on multiple fronts of this unacknowledged war, claims were being sought from historically neglected constituents.”
Shattering Orientalism Through Noir: Samuel Fuller’s ‘House of Bamboo’
“The gritty and hard-nosed film noir genre is rife with actors and directors that helped to not only change conversations about American cinema, but also the nation’s consciousness.”
The Loneliness of the Contract Killer: Music in ‘Murder by Contract’
“It’s telling that all of the human interactions in ‘Murder by Contract’ involve either money or business. The illusions of the profit motive and market forces have alienated Claude from his own emotions and left him broken and alone.”
Ghosts in the Hills: On the Haunting of Hollywood
“Sometimes, films set in and around Hollywood manage to capture a sense about the place that’s strange and uncanny, a place in love with its past and afraid of its future, leaving nothing but ghosts behind to haunt the hills, and to walk the empty mansions.”
You Reap What You Sow: Jules Dassin’s ‘Thieves’ Highway’
“It is an under-appreciated and distinctly un-American work, due in large part to its simplicity and realism, its unconventional romantic leads, its sympathy for immigrant workers and its anti-capitalist overtones.”
Film Noir and Apocalyptic Anxiety
“Where is our own cinema of madness?”
Hommes Fatales: Fritz Lang’s ‘The Blue Gardenia’
“‘The Blue Gardenia’ occupies a curious space inside noir. In many ways, it acts as an indirect response to many of the films that preceded it, with their icy femmes fatales…”
Seeing Double: Richard Quine’s ‘Pushover’
“As a largely disregarded noir B-side, ‘Pushover’ deliberately recalls its more famous predecessor, playing upon audience expectations of MacMurray’s screen persona to create an experience of déjà vu.”