|Vintage Pulp||Dec 25 2021|
T-Men shows Uncle Sam's money men hard at work keeping the greenback safe.
As you know by now, film noir derived from several sources, one of them being the hard-boiled pulp fiction of the 1930s and ’40s, such as the aforementioned Kiss Me, Deadly. As the cycle rolled onward, filmmakers routinely mined crime fiction for movies, and it became common for a book to be purchased for adaptation immediately after it was published. It was a heyday for crime authors. T-Men, for which you see a cool poster above and another at bottom, was not adapted from a novel. It came from a story idea by Virginia Kellogg, the unheralded brain behind films such as White Heat and Caged.
T-Men is the narrated tale of two treasury agents who infiltrate the Detroit mafia to stem a wave of counterfeiting. Dennis O'Keefe and Alfred Ryder play the duo of undercovers, looking sharp in their tailored suits, as they climb the mob chain of authority pretending to be in the possession of flawless counterfeiting plates they're willing to sell. The two take numerous risks to get close to the unknown head of the mob, and find themselves in hot water more than once. The question quickly becomes whether they can catch the crooks and stay alive.
You get excellent noir iconography here, courtesy of director Anthony Mann and cinematographer John Alton. In fact, though the movie is good anyway, the main reason to watch it is because it's a clinic in genre visuals, filled with beautiful shots where light and darkness intersect in sharp angles or blend like mist. The movie also makes good use of locations tailor-made for shadowplay—the steam room, the deserted street, the nighttime amusement park, the swank supper club, the gambling den, the photographer's darkroom, the industrial maze. If you didn't know better you'd think the filmmakers chose the locations first, then built a movie around them.
For those reasons, T-Men is a mandatory entry for film noir buffs, however it isn't quite perfect. Though there are many surprises, aspects of it related to survivability are predictable, and the narration nestles right up against pro-government propaganda, particularly toward the end. Generally, we think most vintage films could have done fine without narration, but here it's actually needed, so you'll have to ignore the filmmakers intent to teach the audience a lesson. That shouldn't be too hard—T-Men is an almost perfect noirscape, a place to get lost in darkness and enjoy the ride. It premiered in the U.S. today in 1947.
DetroitT-MenWhite HeatCagedDennis O'KeefeMary MeadeJune LockhartAlfred RyderVirginia KelloggAnthony MannJohn Altonposter artcinemafilm noirmafiamovie review
|Modern Pulp||Aug 29 2021|
That sound you hear is a great author spinning in his grave.
Guy de Maupassant? Really? We had no idea the master of the short story form and leader of the Naturalist school also wrote smut. Shows what we know. When we looked around for Folli piaceri delle porno prigioniere we learned it was originally made in West Germany in 1980 as Gefangene Frauen, but known in English as Caged Women. And instead of the highbrow rumination we expected from a movie based on de Maupassant, what we got was director Edwin C. Dietrich pushing the far bounds of sexploitation in ways that are crude, stupid, and unrepentant. Perhaps as compensation or apology, he also offers up more nudity per screen minute than a Jesús Franco film—and that's saying something.
Karine Gambier and Brigitte Lahaie headline a cast of bare blonde women and just-as-bare hairy eurostuds, as plotwise, a tinpot dictator worried about a U.N. sex trafficking investigation into his country's brothels hides his trafficked European prosties in a godforsaken island prison. You get every trope of women in prison flicks, but stretched to the max. There are showers, medical exams, naked whippings, naked manual labor, naked skeet shooting, naked arena wrestling, a naked prison break (but with comfortable shoes), and more. Notice how that went from standard sexploitation fare to waaay out there? Is it satire? Edwin Dietrich doubtless would have claimed it was. But merely turning the volume up to eleven is the dumbest kind of satire.
And as far as Guy de Maupassant goes, it's more like Guy de wishful thinking. We found no evidence the acclaimed author influenced this production in any way, regardless of what its writer (also Edwin Dietrich) said. It wasn't the only time Dietrich claimed he was inspired by classic literature. No surprise—when you make something like forty of these flicks you intellectualize them any way you can. De Maupassant's influence, we suspect, was merely to lend a veneer of credibility to the promo poster. If you watch Folli piaceri delle porno prigioniere, don't be a pretender like Dietrich. Just embrace your inner horndog and admit you're watching it for the skin.
ItalyGuy de MaupassantFolli piaceri delle porno prigioniereGefangene FrauenCaged WomenErwin C. DietrichKarine GambierBrigitte LahaieFrance LomayNadine PascalChrista Freeposter artcinemawomen in prisonsexploitationnuditymovie review