Showing posts with label Film Noir. Show all posts
Showing posts with label Film Noir. Show all posts

Saturday, October 15, 2016

Double Indemnity (1944)






Directed by: Billy Wilder
Run Time: 107 minutes

Today's movie has murder,  a complex web of lies,  a relentless investigator, a deadly and illicit affair, and tainted love.  Who knew that life insurance was so entertaining.

 The movie and the book by the same name take their content from the real life murder and insurance fraud committed by Ruth Snyder . The too long: didn't click version of the crime is Ruth Snyder married a man, Albert Snyder, who was in love more with his dead fiancee than his wife. Ruth meets Judd Gray, a corset salesmen, Ruth's lover, and co-conspirator in murder. With the aid of an unethical insurance salesmen, who later went to jail for forgery, Ruth was able to sign her husband up for life insurance with double indemnity. Then Ruth and Judd chloroformed and strangled Ruth's husband, staged a home break in, and then claimed the life insurance. However the police solve the crime and Ruth and Judd are found guilty and sentenced to death.

The movie adaptation takes the corset salesman and the insurance agent and makes them one character in Walter Neff (Fred MacMurray). A successful insurance salesman who starts the movie by racing through late night Los Angles streets to get to work. Not because he's that loyal to the company but because he want to leave a dictaphone recording to Barton Keyes (Edward G. Robinson), Pacific All Risk Insurance's fraud investigator, pointing out all the mistakes in his fraud investigation while he still able.

Towards the end of May Walter paid a visit to Mr. Dietrichson about a car policy that was about to expire. Mr. Dietrichson was not at home but his wife Phyllis (Barbara Stanwyck) was home and she's interested in letting Walter behave like a smitten fool. In fact, she interested enough to invite him back the next day so Walter can meet her husband and resolve her husband's policy issues. The next day, Walter returns the next day to find that Mr. Dietrichson wasn't able to be there but Phyllis would be more than interested to be the object of Walter's obsession. This turns into an affair and leads Walter to consider turning his knowledge of insurance into a way to find wealth and love.

Walter's plan goes off with only a few problems. He gets Mr. Dietrichson to sign for life insurance without his knowledge, sets up how Mr. Dietrichson will die, and creates alibis for himself and Phyllis. Everything comes together the night Mr. Dietrichson goes to his university reunion. Walter and Phyllis enact Walter's plan, kill Mr. Dietrichson, and then wait for the life insurance to pay out. However chance, a few variables Walter missed, and Barton Keyes smelling insurance fraud, Walter's plan and life starts fraying at the seems.

This movie is a great starting point for anyone interested in cinema and literature. Movie wise this is a great example of the noir genre as well as a well constructed film. On the literature side, this was written by Raymond Chandler. Author of the Philip Marlowe novels and a major influence in the American hard boiled detective genre. Over all go watch this movie, they really don't make them like this anymore.

MVT: Being a fanboy of damn near anything noir, I found myself chain smoking, drinking cheap whiskey from the bottle, and enjoying every minute of it.

Make or Break: Fred MacMurray portrayal of Walter Neff leaves me torn between having a beer with the guy or punching the asshole in the face and then buying him a beer afterwards.

Score: 9.5 out of 10





Thursday, December 4, 2014

Episode #313: Odds Against Ice

Welcome back to the GGtMC!!!

This week Sammy and Will bring you coverage of Cool As Ice (1991) with Vanilla Ice and Bernie Sticky, longtime friend and supporter of the show, selected Odds Against Tomorrow (1959) directed by Robert Wise and starring Harry Belafonte and Robert Ryan!!!

Direct download: ggtmc_313.mp3

Emails to midnitecinema@gmail.com

Adios!!!



Friday, November 15, 2013

Episode #261: Silent Rififi

Welcome to another episode of the GGtMC!!!

This week the Gents are joined by Scott from Married with Clickers podcast (marriedwithclickers.libsyn.com) and we discuss Rififi (1955) directed by Jules Dassin and The Silent Partner (1978) directed by Daryl Duke!!! It was great conversation with a great friend of the show!!!

Direct download: ggtmc_261.mp3 
 
Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!



Tuesday, July 24, 2012

Episode #194: The Final Killing Score

Welcome back Gentle Minions!!

This week the Gents cover two films that are incredibly similar....okay probably not but either way this episode was a blast to record. We cover The Killing (1956) directed by Stanley Kubrick (this is the first time Kubrick has been on our show, amazing when you consider both Large William's and Sammy's feelings on the man) and Final Score (1986) directed by Arizal and starring Christopher Mitchum.

Direct download: The_Final_Killing_Score.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!



Tuesday, June 12, 2012

Episode #188: M

Welcome to another episode of the GGtMC!!!

This week the Gents bring you coverage of M (1931) directed by Fritz Lang and starring Peter Lorre, we want to thank the good folks at boulevardmovies.com for sponsoring this week's show as we are looking at M on the Criterion Blu Ray release!!!

We also cover a generous amount of feedback and go off on many tangents that seem odd but have a purpose....we think?

Direct download: M.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207



Friday, July 15, 2011

Episode #140: The Big Arzenta

Welcome to another episode of the GGtMC folks!!!

This week, Sammy was detained by some rude force known as a job...couldnt make it on the show but fear not sweet listeners!!! Rupert came on the show this week to work with large william and they reviewed The Big Heat (1953) directed by Fritz lang and Tony Arzenta (1973) starring Alain Delon.

Kick back and relax and enjoy the show!!!

Not sure what we are covering next week as Sammy is still incredibly busy away from the show, but do not fret...there will be programming for all of you next week in some shape or form...

Also we skipped feedback this week, we will try to catch up next week...apologies.

Direct download: The_Big_Arzenta.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!




Saturday, June 25, 2011

99 River Street (1953)



Directed by: Phil Karlson

After losing a spirited title fight due to a career-ending eye injury, Ernie Driscoll has traded his bloody trunks for a blue collar by driving a cab to make ends meet in hopes of opening a gas station one day. It's been three years since Ernie was forced out of the ring and this pedestrian life seems to be enough for him. Unfortunately, this life isn't enough for Ernie's ex-showgirl, high society-craving wife, Pauline, who detests their working class status and blames Ernie for not providing a better life. Ernie does his best to make her happy and decides that having a child might repair their relationship. On his way to eagerly tell her this, Ernie catches sight of his wife knotting tongues with another man, jewel thief Victor Rawlins. She's drawn to Rawlins with promises to whisk her away to France upon securing $50,000 in exchange for his latest haul of stolen diamonds.

The only problem is that Rawlins' buyer Mr. Christopher refuses to honor their deal because Pauline's now involved; Mr. Christopher never conducts business with women under any circumstances because they always complicate matters. Pauline proves Mr. Christopher correct when hysterically yelling at Rawlings after learning that he had to kill the jewelry store owner to steal the diamonds. Rawlins solves this problem by murdering Pauline and making Ernie the fall guy by stuffing her corpse in the trunk of his cab. Still incensed at Mr. Christopher's refusal to deal earlier, Rawlins steals the $50,000 from the chivalrous buyer and flees en route to making his getaway to France.

With no other alibi, Ernie has to stop Rawlins' escape and simultaneously protect his life from Mr. Christpoher's revenge-seeking thugs out for the kill. He's helped in his search by friend and new interest Linda, who guiltily feels indebted to Ernie after using him, and fight trainer turned cab dispatched Stan, who orchestrates all the cabbies as lookouts to find the fleeing Rawlins. They eventually track Rawlins down and must race to keep him from leaving the county aboard the France-bound boat liner located at the address referenced in the titular film title.


99 River Street is a little slice of classic noir goodness that apparently has gone underseen due to general lack of availability. As I've been saying frequently of late, thank god for Netflix Instant View for giving us access to another forgotten movie. It's a surprise that this film isn't more heralded considering that director Phil Karlson left a sizeable mark in the same genre with Kansas City Confidential the year prior and garnered even more cult film fan adoration with Walking Tall toward the end of his career. 99 River Street stands out in the way that it carefully subverts film noir conventions without undermining the essential genre tropes.

The uniqueness of the characters and their variational usage set 99 River Street apart from other film noirs during this classic period. From the start, it is clear that this film is not focused on the standard good hearted man or well-intentioned detective seduced into crimes and murder leading to their inevitable downfall. Instead, the story is anchored to a simple man not interested in any shortcuts to fortune even though it would be natural given the way Ernie's prizefighting career harshly ended. His motivation is only to one day scratch out enough of a living to open a gas station and repair the damaged relationship with his wife.

99 River Street also diverges from other classic film noirs by not really having a true femme fatale. Ernie's disdained wife Pauline has the fatale makings with her scorn and envy, but rather she's the one seduced into crime and tragic results. To this end, you might even coin the term "male fatale" to at least some degree for Rawlins for sucking Pauline into his world and then coldly removing her from it. To a lesser degree, Linda operates in the conniving vamp role, but her intentions are never deadly; she harmlessly (though, insensitively) utilizes her charm to further her acting career and then later to entice Rawlins into Ernie's hands.


99 River Street is the definition of gritty noir because brutality underscores the entire picture. I'm often dissatisfied when watching edgy noirs from this classic era that skimp on much needed violence. The opening prizefight between Ernie and the reigning world champion is particularly authentic and hard-hitting for the time. It is realistic enough that it feels like some of those blows really land. While not nearly as savage, the choreography and the relentless fistic barrages resemble Raging Bull and perhaps inspired Scorsese. When Ernie finally gets ahold of Rawlins, he uncorks ferocity and nearly beats the murdering thief to death out of vengeful anger in spite of needing him alive to clear his name. It should be noted that Karlson shoots this scene exquisitiely, mimicking shots and exchanges in Ernie and Rawlins boat dock scuffle from Ernie's titlefight -- guardrail chains act as ring ropes, entrance ramps sub as the canvas and police officers impersonate the referee stopping the brawl.

Ernie's brutality manifests without physicality as well. He explodes in enraged rants, screaming about wanting to beat his wife for her infidelities and he also threatens to smack Linda around when learning that she's been playing him for a fool at another juncture.



Make or Break scene - The scene that makes 99 River Street is when Linda turns femme fatale to influence Ernie to assist her with the disposal of a dead body. This is the best scene in the film for me for a number of reasons. Foremost, I absolutely love that Ernie finally gets to unload his rage in this scene. We've seen this good guy endure so much heartache -- a bad break in his fight, a promising boxing career cut short, a cheating wife -- that you want him to fight back, and when he does, I smiled with glee as a bunch of play producing suits got the hell beat out of them. Evelyn Keyes is spectacular in this moment, completely selling the scene and impressively delivering a critical monologue in one lengthy shot. Karlson incorporates a great POV shot as though we're the deadman as Linda describes the events that led to his death, the camera moving and rising as she recounts the details. There's also a great twist in this scene both in the manner that Karlson films it and the fashion in which it is narratively constructed, which I won't spoil, that probably either makes or breaks the film for anyone.

MVT - Tough call, but we'll give a close split decision victory to John Payne as Ernie Driscoll over Phil Karlson's direction and Robert Smith's script. Payne's performance is one instilled with such vital downtrodden good nature that you root for him throughout the movie and it makes his violent outbursts that much more arresting when they occur. For this character, Payne manages a difficult task to allow just enough pent-up rage simmering beneath the surface without coloring the performance as bitter.

Score - 8/10