Vintage Pulp Apr 24 2017
MOMMY DEAREST
Spare the rod, spoil the child.

We ran across this West German poster for Solange ein herz schlaegt, aka Mildred Pierce, and realized we had a substantial gap in our film noir résumé. So we watched the movie, and what struck us about it immediately is that it opens with a shooting. Not a lead-in to a shooting, but the shooting itself—fade in, bang bang, guy falls dead. These days most thrillers bludgeon audiences with big openings like that, but back in the day such action beats typically came mid- and late-film. So we were surprised by that. What we weren't surprised by was that Mildred Pierce is good. It's based on a James M. Cain novel, is directed by Michael Curtiz, and is headlined by Joan Crawford. These were top talents in writing, directing, and acting, which means the acclaim associated with the movie is deserved.

While Mildred Pierce is a mystery thriller it's also a family drama revolving around a twice-married woman's dysfunctional relationship with her gold-digging elder daughter, whose desperation to escape her working class roots leads her to make some very bad decisions. Her mother, trying to make her daughter happy, makes even worse decisions. The movie isn't perfect—for one, the daughter's feverish obsession with money seems extreme considering family financial circumstances continuously improve; and as in many movies of the period, the only black character is used as cringingly unkind comic relief. But those blemishes aside, this one is enjoyable, even if the central mystery isn't really much of a mystery. Solange ein herz schlaegt, aka Mildred Pierce opened in West Germany today in 1950.

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Vintage Pulp Mar 29 2017
FINAL EDIT
Nothing's harder to rewrite than a lie.

This simple but effective poster was made to promote the simple but effective film noir Night Editor, starring William Gargan, Janis Carter, and Jeff Donnell. A group of grizzled reporters arrayed around a poker game reminisce over past scoops, with one of the group eventually telling the story of Tony Cochrane, a cop who got himself in too deep with a dame. A dissolve to the past takes viewers to the cop's world, and the narrative is broken up by occasional returns to the smoky poker game, where the storyteller punctuates his tale with a bit of Monday morning quarterbacking.

The story is that Cochrane the cop, who was cheating on his wife with a beautiful society woman, was parked one night at a secluded beach when he and his lover witnessed a murder. But fearing exposure of their affair, he neither stops the killing, nor pursues the killer, and later actively tampers with evidence to hide his own presence at the murder scene. You know this is going nowhere good, but just how complicated the mess becomes is where the fun lies. Low budget, but reasonably entertaining, Night Editor premiered in the U.S. today in 1946.

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Vintage Pulp Mar 16 2017
HOSTAGE HOUSE
Bogart counts down to zero hour.

This striking Roger Soubie promo poster for La maison des otages, aka The Desperate Hours, doesn't leave much doubt about what happens to Humphrey Bogart, but even without the poster there wouldn't be any doubt. Bogart stars, in his last villain role, as an ex-con who takes a family hostage in order to use their home as a hideout. During the Leave It To Beaver 1950s there was no way his character was going to go unpunished for pointing a gun at a kid. Even seeing it in the promo image below makes you cringe a little, doesn't it? But the inevitable consequences of Bogart's actions aren't the point—how he struggles to maintain the constantly evolving hostage scenario is what generates the drama, and the imprisoned family aren't his only problem. La maison des otages is a later noir, but a better one. It opened in France today in 1956.

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Femmes Fatales Feb 23 2017
PIERCING GAZE
This is not a homicidal glare. This is a homicidal glare.


Above, two borderline scary promo photos of Joan Crawford made when she was shooting the film noir Mildred Pierce, a movie that, embarrassingly, represents a gaping hole in our film watching résumé. We'll take care of that soon. These images are from 1945. 

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Hollywoodland Feb 5 2017
FALLING FOR BOGART
You know what they say about men with big hats.

In this production still from 1946's The Big Sleep featuring a bizarrely large hat in the foreground, Martha Vickers falls into Humphrey Bogart's arms. Bogart, under normal circumstances, would have been smart to likewise fall for Miss Vickers, but his other choice in the movie was Lauren Bacall. Which means it was she who got hat, head, and all the rest.

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Modern Pulp Jan 28 2017
BEASTLY BOYS
You mess with the bull you get the horns.

Expert safecracker Gal Dove, played by Ray Winstone, has retired to sunny Spain, but criminal associates back in England want him for a job. Arriving in the Costa del Sol to make the pitch for them is the persuasive—and psychotic—Ben Kingsley, who terrorizes Gal and his close circle in an effort to bully him into partnering up. The movie mainly focuses on the battle of wills between a man trying to move on with his life and a monster that won't take no for an answer. For a long while it looks as though there won't be a heist at all, but the film circles around to that eventually, showing the event in montage form. And though this robbery is unique in execution it's ancillary plotwise, because Sexy Beast is less a heist film than a psychological drama about how difficult it is for a talented crook to get out the rackets, and how his former self and past sins are never deeply buried. Made in 2001 and directed by a man who clearly knows his film noir in Jonathan Glazer, this is both the most straightforward film showing at Noir City, and also the one—with its dialogue driven pacing and shorts bursts of violence—we can most easily imagine as a 1940s production. Dark, quirky, visually dazzling, and fun.

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Vintage Pulp Jan 23 2017
ANATOMY OF A ROBBERY
Making a killing at the track is harder than they think.

Tonight the Noir City Film Festival is also screening Stanley Kubrick's 1956 crime procedural The Killing. The title refers not to murder but to making a killing—i.e. a highly profitable score. Sterling Hayden leads a cast that includes Coleen Gray, Elisha Cook, Jr., and Marie Windsor. Hayden and crew hope to rob a race track, and to do this they lay out a precise plan that includes causing a brawl at the track bar as one distraction, and shooting a horse mid-race as another. What could go wrong, right? But the crazy plan makes sense, and if you have trouble following it a stentorian narration breaks down the action for you. We didn't mind that so much—the entire premise of the movie is that it's a faux-documentary, so the voiceover is something you have to accept. But the trumpets and tympani on the soundtrack—wow—are way overcooked. Still, this is a nice piece of noir, occasionally running on parallel timelines, with plenty of directorial style from a twenty-eight-year-old Kubrick. Some might take issue with the film's heavyhanded irony, but it's all somewhat redeemed by the perfection with which Hayden delivers his final line. The Killing didn't do well at the box office, however as often happens with films from directors who later become icons, opinions have shifted over the decades. But even if modern day critics are in agreement that The Killing is a top effort, it still won't be everyone's cup of tea. You'll just have to judge for yourself.

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Vintage Pulp Jan 22 2017
FRENCH BROOD
C'est nous qui d'mande du Rififi.

Tonight the Noir City Film Festival screens Jules Dassin's classic crime drama Du rififi chez les homes, aka Rififi for the second time in three years. It's appropriate, though, since Dassin was the noir master behind Night and the City, Thieves' Highway, The Naked City, and Brute Force. Based on Auguste Le Breton's novel, Rifiifi came in 1955 after Dassin's work had been absent from Hollywood screens for five years—a break brought about due to his blacklisting by the anti commie crowd. Dassin made Rififi in France and reminded Hollywood exactly what they had lost.

We first meet the character Tony le Stéphanois in a poker game where he's lost his shirt. The other players won't let him continue without more cash, and that's how we meet his close friend Jo, who's called in to take Tony home. Tony is a big time criminal fresh out of prison and down on his luck, while Jo is a green young crook. Jo and his accomplice Mario have hatched a plan to cut the glass out of a jewelry store window and steal the few gems in the display, and they ask Tony to partner with them.

Our introduction to this trio makes them all seem sympathetic, but this Tony is a bad guy. When does that become crystal clear? When he whips his ex-girlfriend with a belt. Which beyond its literal significance also seems to indicate that people around Tony get hurt generally. He soon convinces Jo and Mario that their smash-and-grab idea is peanuts, and under his influence the plan grows into a full scale heist—one of the most memorable heist sequences in cinema, containing almost no dialogue, and running close to half an hour of screen time.
 
If you've never seen the film you may be wondering what exactly is “rififi”? A name? A place? The idea is explained in detail to a nightclub audience in a highly entertaining number by Magali Noël, because even French audiences of the day didn't know what it meant. We could tell you what Noël sang about it, but what would be the fun in that? If you want to know you'll have to watch the movie.

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Vintage Pulp Jan 21 2017
KANSAS CITY CHIEFS
The best defense is a good offense.

Four robbers knock off a bank in Kansas City with plans to split the money after the heat has cooled. The mastermind behind the job has arranged it so the crooks don't meet before the job, and wear masks during it, thus can't possibly identify each other. But each man has an ace, torn in half to create a unique mate, to match with the second half and confirm his identity when the time comes. It all sounds clever and foolproof, except the mastermind has framed someone for the robbery to throw police off their trail, and when this man is arrested but turned loose from police custody due to lack of evidence, he decides to track down the men who set him up.

This character, played by John Payne, is our anti-hero and looming wrench in theives' works. He quickly picks up the trail of one of the robbers in Mexico, but the police have too. In trying to discover who framed him, Payne could look to these lurking cops as though he's a member of the gang—if they spot him, that is. When Payne sees an opportunity to adopt one of the robber's identities—no difficult task since they've never seen each other—he leaps at it, but this draws him in even deeper. He's now in danger from the men he's playing imposter to, while to the cops he looks like a participant in the robbery.

There are more twists, including a star-crossed romance with Coleen Gray, but we'll stop there. This is a nice, multi-layered film noir, with good performances all around. Considering the risk Payne has to take we aren't sure we fully buy his motivation, but once he's made the decision there's no easy way out, and it's fun to watch him threaten and beat his way up the chain to the top guy. Coleen Gray always adds a nice element to any movie she's in, and Lee Van Cleef is good in a tough guy role. The only serious blemish here may be the silly final minute, but you shouldn't let it ruin the film for you. We recommend giving this one a whirl.

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Vintage Pulp Jan 21 2017
WEEKEND FROM HELL
You spend all week looking forward to Saturday and then this happens.

In Violent Saturday, a group of people are loosely connected to a smalltown bank that has been targeted by a trio of robbers. Yes, it's a heist double feature at the Noir City Film Festival. We meet the big shot at a local mine who is one of the bank's most important customers. We meet his cheating wife, who's having an affair with a bank employee. We're introduced to a group of Amish who have no idea their nearby community has been chosen as a rendezvous point. We get to know the bank manager—and the woman whose window he peeps through at night. As you might guess from our rundown, the examination of all these characters and their situations is detailed. In fact, it lasts two thirds of the film.

When the bank is finally robbed, some of these people will find themselves in the wrong place at the wrong time as the criminals' careful plan degenerates into a kill-or-be-killed fiasco. Lethal results are coming but we have no idea who will survive. Everyone is flawed, everyone has hope for a good future, but not all of them will get to see it. Violent Saturday is a DeLuxe color production rather than a standard black and white film noir. Set in Arizona, it was dubbed "southwestern noir" by the Village Voice, but really it's just a tidy little thriller—with an untidy little finish. We think it fits nicely on the Noir City slate.

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Next Page
History Rewind
The headlines that mattered yesteryear.
April 25
1939—Batman Debuts
In Detective Comics #27, DC Comics publishes its second major superhero, Batman, who becomes one of the most popular comic book characters of all time, and then a popular camp television series starring Adam West, and lastly a multi-million dollar movie franchise starring Michael Keaton, then George Clooney, and finally Christian Bale.
1953—Crick and Watson Publish DNA Results
British scientists James D Watson and Francis Crick publish an article detailing their discovery of the existence and structure of deoxyribonucleic acid, or DNA, in Nature magazine. Their findings answer one of the oldest and most fundamental questions of biology, that of how living things reproduce themselves.
April 24
1967—First Space Program Casualty Occurs
Soviet cosmonaut Vladimir Komarov dies in Soyuz 1 when, during re-entry into Earth's atmosphere after more than ten successful orbits, the capsule's main parachute fails to deploy properly, and the backup chute becomes entangled in the first. The capsule's descent is slowed, but it still hits the ground at about 90 mph, at which point it bursts into flames. Komarov is the first human to die during a space mission.
April 23
1986—Otto Preminger Dies
Austro–Hungarian film director Otto Preminger, who directed such eternal classics as Laura, Anatomy of a Murder, Carmen Jones, The Man with the Golden Arm, and Stalag 17, and for his efforts earned a star on Hollywood's Walk of Fame, dies in New York City, aged 80, from cancer and Alzheimer's disease.
1998—James Earl Ray Dies
The convicted assassin of American civil rights leader Martin Luther King, Jr., petty criminal James Earl Ray, dies in prison of hepatitis aged 70, protesting his innocence as he had for decades. Members of the King family who supported Ray's fight to clear his name believed the U.S. Government had been involved in Dr. King's killing, but with Ray's death such questions became moot.
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