In a mirror, darkly.
Jennifer Connelly is one modern actress we often see cited as having classic looks, which we suppose to mean she could have been a star in 1945. We imagine she'd have been a star anytime. She debuted on the showbiz scene in the 1982 television series Tales of the Unexpected, appeared in one our favorite movies of the 2000s Requiem for a Dream, and a couple of years later won an Academy Award for A Beautiful Mind. The above imagery of her is from 1990, the same year, appropriately, she starred in The Hot Spot.
In a place like Atlantic City there's always one more chance.
The poster you see above was painted by the Spanish artist Francisco Fernandez Zarza-Pérez, who signed his work as Jano. As you can see, it was to promote Louis Malle's drama Atlantic City, U.S.A. Most sites call the film just Atlantic City, but we're going with what the opening credits called it. Though the movie starred U.S. performers and tends to be thought of as an American effort, it was French produced and premiered all over Europe in 1980 before reaching the States in 1981. It opened in Spain today in 1980 and tells the story of a sixty-something minor crook who finds himself involved with twenty-something hustlers and their sale of stolen drugs. Circumstances place both the party favors and the profits in his hands, and he suddenly has a chance to be the big time mobster he never was.
Not only did Atlantic City, U.S.A. win the Golden Lion at the Venice Film Festival, it's one of the few movies to be nominated for all five major Academy Awards—Best Actor (Burt Lancaster), Best Actress (Susan Sarandon), Best Director, Best Picture, and Best Screenplay. With a résumé like that we don't have to tell you the movie is good. Watch it. You'll like it. The woman on the poster, by the way, looks nothing like Susan Sarandon, but it was early in Sarandon's career, and we suspect Jano wasn't too invested in getting her likeness correct. It was within his capability, certainly—his Lancaster looks great. We don't know why he got Sarandon wrong. Considering how famous she eventually became, we have a feeling he wished he'd done better.
Best ever reason to brave crosstown traffic.
Sultry Puerto Rico born actress Rita Moreno, who many remember from her role as Anita in the 1961 Hollywood adaptation of the 1957 Broadway musical West Side Story, is one of the few performers to have won all four major annual American entertainment awards—i.e. the Oscar, the Emmy, the Grammy, and the Tony. She's also won a Golden Globe, been awarded a Presidential Medal of Freedom and a National Medal of the Arts, received a star on the Hollywood Walk of Fame, and been bestowed the Screen Actors Guild Life Achievement Award. There are even more awards, too numerous to list, and on top of all of them, she was also awarded some awesome genes, because not only is she very beautiful in the top photo from around 1960, but she still looks good today at age eighty-five.
The thrill of the Chasse.
This promo poster from Colombia Pictures was made to promote the Belgian run of the film noir Chasse à l'homme, better known as The Glass Wall. This is an interesting one. Starring Vittorio Gassman and Gloria Grahame, the movie is set at the end of World War II and tells the story of a Hungarian refugee who arrives in New York harbor as a stowaway on a ship. Onboard immigration cops catch him, but he eludes them and jumps ship to search for a war buddy who can prove he has the right to legal residency under a special exemption for those who aided Allied soldiers. He must find this friend who can prove his bona fides, and do it within twenty four hours or be permanently barred from the U.S. A photo in the morning paper alerts the public and Chasse à l'homme becomes a double manhunt—the hero's search for his buddy, and the cops' search for the hero. The film is obviously a piece of light propaganda concerning the desirability of life in the U.S., but as a noir it also shows a darker side to American society, such as when Gloria Grahame is under threat of eviction, and when the landlady's son tries to force himself on her. Gassman was an experienced actor by this point, and Grahame, as noted on the poster, had already won an Academy Award for The Bad and the Beautiful. Both do solid work here. The movie opened in the U.S. in March of 1953 and reached Brussels, Belgium today in 1954.
Somebody up there liked him 67 times. And didn't like him 10 times.
These Italian promo posters were made for the drama Lassù qualcuno mi ama, better known as Somebody Up There Likes Me, the rags to riches biopic of boxer Rocky Graziano, who survived a violent father, street gangs and prison to become a world middleweight champion who finished his career with a 67-10 record. If somebody up there liked him, we'd love to hear why he got his ass whipped ten times, but whatever. Paul Newman played the lead in this after intended star James Dean was killed in an auto accident, and the film went on to earn acclaim and win a couple of Oscars for cinematography and art direction. The posters were painted by Renato Casaro, one of the most important mid-century film artists, a man who produced hundreds of masterpieces and was behind this gem and this racy little number. Casaro is still around at age eighty-one and maintains a website detailing his work and career. Lassù qualcuno mi ama was originally released in the U.S. in 1956 and had its premiere in Italy today in 1957
She's not just another brick in the wall.
Above, Los Angeles born actress Helen Luella Kofor, known professionally as Terry Moore, who first appeared on a movie screen in 1940 and has been active ever since, most recently in Merrily, slated to open in late 2017. She also appeared in 1944's Gaslight, 1949's Mighty Joe Young, and dozens of other films. Along the way she was nominated for an Academy Award, became secret spouse to Howard Hughes, and posed for Playboy at age fifty-five, looking just fine, too. All in all, Moore is a unique character. The above shot of her is from around 1955.
Nobody can hurt you quite like your own family.
Noir City ticketholders are in for a nasty treat with Before the Devil Knows You're Dead. Made in 2007, well reviewed but under appreciated, it doesn't tick the film noir box but it's a top level thriller, gripping from explosive beginning to crushing end, with timelines restarting to drip feed plot twists to the viewer. And “drip feed” is apropos as a descriptive, because it's like water torture watching the lives of the family at the center of this film come apart.
It all starts when Philip Seymour Hoffman—in desperate need of cash—convinces his little brother Ethan Hawke—also in need of money—to knock off a jewelry store. Neither are criminals, but the potential robbery is too easy to resist. The store, you see, belongs to their hardworking parents. It's literally a mom and pop operation, located in a quiet suburb, insufficiently guarded because there's never been an instant of trouble in all the years the place has been in business.
Hawke is good as a man who is never remotely in control of his circumstances, and Hoffman is brilliant, but Albert Finney drives the movie with righteous anger and unbearable heartbreak. Critics'fave Michael Shannon has a crucial role, Oscar winner Marisa Tomei is perfect as a woman in the middle of a mess she can only barely discern, and fourteen-time nominee Sidney Lumet directs with austere precision.
We originally saw Before the Devil Knows You're Dead years ago and always planned to rewatch it, but kept shying away from doing so because we knew it would be difficult to sit through again. Yeah. It's like that. Hard to watch—even with Marisa Tomei in it—when you know what's coming. But since you have no idea how it unfolds you'll get through it fine. We highly recommend that you queue this one up.
Eastwood tries to teach a new dog old tricks.
Squirrelly young criminal Lightfoot, played by Jeff Bridges, is just the kind of guy you want to smack. Always running his mouth, never paying attention, totally wrapped up in himself. He picks up John Doherty, played by the older Clint Eastwood, and the two form a bromance. During their travels, Lightfoot learns that Doherty is a famed bank robber known as the Thunderbolt, for his usage of an anti-aircraft cannon to penetrate a bank vault. Thunderbolt has two ex-partners on his trail who are seeking a cache of hidden money from a previous job. The money is hidden behind a blackboard in an old, one-room schoolhouse, but when Thunderbolt and Lightfoot travel to the site of the school it's been replaced a modern new building.
The angry ex-partners eventually corral Thunderbolt and Lightfoot, but when they learn the money is gone, rather than exact revenge, they decide to pull off the same job, the same way, and maybe the loss of the other cash will be forgiven. The only snag is they have no way to finance the robbery—particularly the acquisition of another cannon. So they do what any career criminals would do—get jobs. They drive an ice cream truck, groom dogs, anything to earn cash. The question is never really whether they'll finance the heist, but whether their fragile coalition—which is strained by mistrust from the loss of the previous bank loot, as well as by Lightfoot's grating antics—can hang together.
Jeff Bridges' Oscar nominated performance is a reminder that Millennial, Generation X, Beat Generation, et al, are just marketing terms used for social engineering. Every young generation is infuriating to the older ones. It's genetic, not social. Lightfoot is impatient, oblivious, andrude—like someone raised on mobile devices, only decades before those existed for people to focus their ire upon. A constant underlying concern is whether he will finally go too far and get his ass seriously beaten, or maybe even get killed. He's likeable, of course, but he's also a protagonist. If you met him on the street you'd wonder if he was ever dropped on his head as an infant—and then proceed to drop him on his head. And no—he doesn't turn out to be secretly a criminal genius. He's exactly the constant annoyance he seems.
Though Thunderbolt and Lightfoot isn't film noir, it's full spectrum entertainment, with laughs, thrills, and a touch of sex, as well as just enough menace to keep viewers on edge. But we don't think Noir City patrons will walk away from the screening 100% pleased. We get that they're being asked to think outside the box, but there's a pretty wide gap between noir, with its beautiful visual palette and nostalgia invoking cultural stature, and a ’70s road thriller, with its dusty look and twangy country music soundtrack. Thunderbolt and Lightfoot is a great movie in the wrong festival, in our view. As a side note, the promo poster, which we're sure you've noticed is high quality, was painted by Ken Barr, who was a respected comic book and promo artist for many years. You can read a bit more about him here.
Trevor makes the most of her smoke break by posing for a master.
Brooklyn born actress Claire Trevor made more than sixty movies over seven decades, including the important film noir entries Raw Deal, Born To Kill, Johnny Angel, Murder My Sweet, and Key Largo, the latter of which snared her an Academy Award for Best Supporting Actress. And if you haven't seen her in it you really should. She was one of film noir's defining artists, an indispensable participant in it. We're also fond of her in lighter fare such as 1965's How To Murder Your Wife, with Jack Lemmon. The noirish shot above was used as a reference photo by the legendary Peruvian artist Alberto Vargas. He painted a portrait of Trevor which you see inset just above, and you also see her posing with the piece below. The portrait was commissioned by her employers Fox Film Corporation as a promo image, a type of work Vargas did often, and the studio used prints of portrait as lobby cards. All of these images came about in 1934.
From Here to Oscar night.
American actor Burt Lancaster posed for the promo photo you see above when he was filming the World War II drama From Here to Eternity in the Hawaiian Islands in 1953. The movie, based on James Jones' novel, was one of the highest grossing productions of the 1950s, and film noir vet Lancaster in the lead as Sergeant Warden was a prime reason why. The movie also starred Montgomery Clift, Deborah Kerr, Donna Reed, Frank Sinatra, and Ernest Borgnine, making for a supremely talented cast. In the end From Here to Eternity scored thirteen Academy Award nominations and won eight, including Best Picture.
The headlines that mattered yesteryear.
1945—Nuremberg Trials Begin
In Nuremberg, Germany, in the Palace of Justice, the trials of prominent members of the political, military, and economic leadership of Nazi Germany begin. Among the men tried were Martin Bormann (in absentia), Hermann Göring, Rudolph Hess, and Ernst Kaltenbrunner.
1984—SETI Institute Founded
The SETI Institute, a not-for-profit organization dedicated to the search for extra-terrestrial intelligence, the discovery of extrasolar planets, and the habitability of the galaxy, is founded in California by Thomas Pierson and Dr. Jill Tarter.
1916—Goldwyn Pictures Formed
In the U.S.A., Samuel Goldfish and Edgar Selwyn establish Goldwyn Pictures, which becomes one of the most successful independent film studios in Hollywood. Goldfish also takes the opportunity to legally change his last name to Goldwyn.
1916—First Battle of the Somme Ends
In France, British Expeditionary Force commander Douglas Haig calls off a battle against entrenched German troops which had begun on July 1, 1916. Known as the Battle of the Somme, this action resulted in one of the greatest losses of life in modern history—over three-hundred thousand dead for a net gain of about seven miles of land.
1978—Jonestown Cult Commits Mass Suicide
In the South American country of Guyana, Jim Jones leads his Peoples Temple cult in a mass suicide that claims 918 lives, including over 270 children. Congressman Leo J. Ryan, who had been visiting the makeshift cult complex known as Jonestown to investigate claims of abuse, is shot by members of the Peoples Temple as he tries to escape from a nearby airfield with several cult members who asked for his protection.
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