Noir Highway: THE WAGES OF FEAR takes noir to the global south
by Sam Christian, Staff Writer
Let’s look at Henri-George Cluzot’s TheWages of Fear (1953) and find out if it is a noir or something different.
by Sam Christian, Staff Writer
Let’s look at Henri-George Cluzot’s TheWages of Fear (1953) and find out if it is a noir or something different.
by Gary M. Kramer, Staff Writer
Ulmer’s B-movie developed a cult following after it became a staple in revival theaters in the 1980s. With its pulpy plot and Savage’s fierce performance, it remains a noir favorite of almost everyone who sees it.
by Rosalie Kicks Editor in Chief and Old Sport
Bleak tales, shadowy figures, and cynical characters may await, but with Eddie Muller at my side I could not be more thrilled as I know my eyes will witness a moving image that is something to behold.
by Rosalie Kicks, Editor in Chief and Old Sport
Like several actors of Duryea’s era, he somewhat fell into the Hollywood racket. Due to his parents lack of faith in his career as an actor, he first pursued the path of an advertising executive.
by Jill Vranken, Staff Writer
As played by Robert Mitchum, Preacher Powell remains one of cinema's greatest villains, an iconic noir performance that still chills to the bone today.
by Ryan Silberstein, Managing Editor, Red Herring
And after watching a few Stanwyck noirs, I fully believe that if the devil was real, he’d fall for her too
by Rosalie Kicks, Old Sport & Editor in Chief
For under thirty-five bucks one can lost in the shadows of not one, not two but three noir pictures in The Dark Side of The Cinema XXI collection.
by Fiona Underhill, Staff Writer
In 1941-1942, classic Hollywood siren Veronica Lake cemented her movie star status with two enduring screwball comedies (Sullivan’s Travels [1941] and I Married a Witch [1942]) and with two successful film noirs (This Gun For Hire [1942] and The Glass Key [1942]) both co-starring Alan Ladd.
by Rosalie Kicks, Old Sport & Editor in Chief
As I flipped through the magazine, I could not help but feel bewitched by the characters staring back at me. I was mesmerized by the beauty of the artwork and Erik’s passion for the genre is felt on each and every single page.
by Jo Rempel, Staff Writer
The Card Counter is not an anxious film. Looking at the film through Tell’s eyes, bad odds are taken as a given, so no point in worrying.
by Jo Rempel, Staff Writer
The canon I’m drawing up today are of those essential noirs that keep it car-centric throughout. Each of these pictures builds its own perception of the motor.
by Gary M. Kramer, Staff Writer
The Big Clock, from 1948, opens as a quintessential noir. There is a city skyline seen at night, with black smoke drifting through the frame as the camera pans towards a mid-Century office building.
by Megan Bailey, Staff Writer
Modern neo-noir—often taking advantage of neon lights, new music, and delving further into perspectives we didn’t get in the original heyday of noir—is such an interesting group of subgenres all on its own.
by Olivia Hunter Willke, Staff Writer
No portrayal of Philip Marlowe, before or since, has been as distinct as Gould and Altman's collaboration.
by Sam Morris, Staff Writer
All of these films explore the choices that men and women make when their backs are up against the wall as well as the societal forces that forced them against that wall in the first place.
by Fiona Underhill, Contributor
While 1940s noirs made stunning use of the shadows, silhouettes and sharp angles that crisp black and white photography provided, the 80s neo-noir had a very different feel.