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Dr.Caligari posted:Any recommendations for similar , serious/ gritty movies like Blast Of Silence? To name a few of the classics that I think get serious about their violence, Murder By Contract, Criss Cross, The Asphalt Jungle, The Big Heat, Underworld USA. Wheat Loaf posted:My favourite movie is The Long Good Friday which borrows Chandler for its title but I'm not sure if it's neo-noir or not. Of course I sometimes see Miami Vice of all things described as neo-noir (and in complete fairness, there are certain episodes like "Out Where the Buses Don't Run" that definitely are, but this is also a show with an episode where Edward James Olmos sneaks around a mansion taking out KGBs with a samurai sword). Noir is next to punk in terms of how broadly it's applied once you get past the immediate formal constraints. The Long Good Friday I think is safely regarded as neo-noir, but to me noir is too purgative and final for a TV format of someone solving crimes every week. Cracker is probably as close as it gets though.
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Nov 10, 2018 20:39
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Samuel Clemens posted:You had me at Robert Mitchum and Claude Rains appearing in the same film. It also gave us Night and the City, which I think is my very favourite of an absurdly stacked year.
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Nov 12, 2018 14:26
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feedmyleg posted:Any recommendations of noirs that either a) star people of color, or b) are particularly meditative/poetic/melancholic? For b), I'd think of Odd Man Out, Act of Violence, and In a Lonely Place. There's also The Set-Up, which if not for script interference would also qualify for a) - Robert Ryan admittedly does a great job in a role originally written as black, but courtesy of studio anxiety, race was probably the least explored of all the boundaries pushed in classic noir. That's why I think virtually everything that would qualify for a) from the classic period has already been said, although I think it's still worth mentioning Luis Bunuel's The Young One. It's really a Southern Gothic, but in cinema that's basically a niche rural cousin to noir (fatalism, base human impulses, Expressionist cinematography, etc.), hence why Night of the Hunter gets namechecked a lot. Wheat Loaf posted:Watched The Third Man last night. Great as always. I asked in the chat thread whether anyone had any recommendations for movies where a character either does not appear or has very limited (but impactful) screentime but whose presence is always felt, like The Third Man or The Usual Suspects or to a certain extent No Way Out (the Kevin Costner one, not the one mentioned above). It seems to me that there must be many examples of noir or neo-noir movies which do the same thing; can anyone suggest any? This is actually pretty tough, because there's a lot of first wave noir ostensibly around someone dead or lost (The Killers, Gilda, Laura) that nonetheless involve a lot more screentime for them than Orson Welles in The Third Man. I'm sure there's more in neo-noir, but all I can think of to qualify is The Long Goodbye, and maybe Chinatown or The Conversation.
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Nov 18, 2018 14:50
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feedmyleg posted:Thanks, I'll check out your suggestions. I'll be watching out Chan Is Missing from '82 soon and was hoping there was something halfway between that and a Charlie Chan flick made in the classic era. I suppose it makes sense that I'd have to jump to the Japanese film industry for that—would something like Stray Dog, Drunken Angel, or I Am Waiting count as noir or are they too stylistically removed? Admittedly I haven't seen as much of it as I should, but yeah, that's a good call. Japanese noir is very much considered a thing, and built on the same aesthetics.
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Nov 18, 2018 17:48
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Samuel Clemens posted:How many noirs with a snowy setting are there anyway? Aside from the two Tycho mentioned, I can only think of Odd Man Out. In terms of classic era noir there's also Nightfall and On Dangerous Ground, albeit I don't really think On Dangerous Ground stays very noirish by the time it reaches the snowy outdoors. Track of the Cat I've seen classed as a noir western, which I can definitely see.
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Aug 9, 2021 19:47
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kingcobweb posted:The host of a local movie club liked my idea for noir movies for the two weeks that we'll be meeting. We agreed on watching one (1) original noir, and one (1) neo-noir. We're pretty set on Chinatown for the latter. This gives me the impossible choice of selecting a single movie to introduce people to noir as a style/genre/whatever. I've narrowed it down to three: For all that it's the standard idea of the genre (or mode or style or however you define it), I'm not so fond of the idea that noir equals hardboiled. Chandlersque conventions often work against how feverish and nightmarish the best noirs can get, particularly in Big Sleep. The purest marriage of them for me is Murder My Sweet where Marlowe spends so much time getting knocked the gently caress out and the expressionist cinematography goes so hogwild that it has a whole dreamworld vibe to it, but I don't know that it's the best intro, necessarily. Touch of Evil or Third Man are solid choices because there's still the detective/mystery premise people might expect, plus Orson must have the most name recognition after Bogart. I'd lean Touch of Evil even if it's sort of skipping to the end of the classic era of noir. The other two I'd think of as solid intros would be Double Indemnity and The Killing, which give you the respective key examples of devious lust- and greed-driven plots that go to poo poo.
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Nov 1, 2023 23:43
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Air Skwirl posted:What are the best openings in noir films? Touch of Evil has already been mentioned, I'd throw Kiss Me Deadly out there as well (also an amazing ending and a kinda mediocre middle if I'm being honest), what else do we got? Sunset Boulevard and The Killers have to be way up there for the classic era.
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Nov 2, 2023 19:27
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