|Hollywoodland||Dec 8 2021|
|Intl. Notebook||Jan 16 2015|
Today, once again, the U.S.’s premier film noir festival begins in San Francisco. Well, we aren’t impartial—we used to live in Berkeley, just across the Bay, and San Fran was our nocturnal playground—but we think the Noir City Film Festival is the best, that its locale the Castro Theatre is awesome, and that San Francisco, with its iconic hills, clanking cable cars, and rogue fogs, is the also the best possible host city. This year the art produced for the festival in its thirteenth year references worn pulp paperbacks, which we can appreciate, and we also love the festival line-up.
The extravaganza opens with Woman on the Run, a film we discussed recently. Apparently the last known print burned in a fire, and this year’s showing represents the culmination of years of restoration work. Since the film was in the public domain, we imagine some secondary sources existed and needed to be tracked down and cobbled together. Other classics to be screened include Clash By Night, The Thin Man, Shockproof, Cry Terror!, and twenty others. Hopefully a few of our Bay Area friends will attend the festival and report back. And to Pulp Intl. readers in that part of the world, this is your official reminder—any chance to see film noir on a big screen is an opportunity not to be wasted.
|Vintage Pulp||Nov 29 2014|
General consensus on this public domain film is that it’s better than expected and we watched it and agree. It isn’t about a woman on the run but rather the woman’s husband. She’s looking for him, though, and that’s what the movie revolves around. There’s a very effective rollercoaster sequence at the climax, but otherwise the movie has two main pleasures—Ann Sheridan’s jaded wife character that softens by the end of the film, and the extensive location shooting. In fact, there’s so much external scenery that the film doubles as a tour of mid-century San Francisco, which might be enough reason alone to watch it. It premiered in the U.S. today in 1950.