Clark Gable flew five combat missions in World War II, including one to Germany. Gable’s military awards were the Distinguished Flying Cross, Air Medal, American Campaign Medal, European-African-Middle Eastern Campaign Medal and World War II Victory Medal. He also received aerial gunner wings.
Adolf Hitler admired Gable more than any other actor and offered a sizable reward to anyone who could capture and bring Gable to him unscathed.
There are two cool events going on Thursday night in the noir capital of the world, i.e. Los Angeles.
Master storyteller James Ellroy will read from his new novel, “Perfidia,” set in 1941 LA.
Ellroy’s other novels include: “The Black Dahlia,” “The Big Nowhere,” “L.A. Confidential,” “White Jazz,” “American Tabloid,” “The Cold Six Thousand” and “Blood’s a Rover.”
Several of his books have been made into movies. This influential writer was born in Los Angeles in 1948.
Publishers Weekly calls the new book: “A sprawling, uncompromising epic of crime and depravity.” We’re in.
The reading is at 7:30 p.m. at Skylight Books.
The Autry Center is hosting Celebrate Steinbeck! The Road Trip as Inspiration, in honor of the 75th anniversary of “The Grapes of Wrath.”
Artists will recount The Grapes of Wrath Journey, a 2013 retracing of the route taken by the Joad family. The event starts at 6 p.m.
By Mr E Man and Mark Harrington
The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).
Pick of the Week: A Day with Sam Fuller
Tuesday, April 29
Cigar-chewing, ex-New York City newsman Sam Fuller was one of the toughest of all the tough noir directors. He made tough crime thrillers, tough war movies, tough westerns, and even a tough period newspaper drama (“Park Row,” which was his own favorite). Eight of his movies are on tap this Tuesday.
Offhand, we can’t think of another moviemaker who began his scenes and camera takes by firing off a gun, or who ended one picture (“Shock Corridor”) by flooding and destroying his own set and vamoosing from the studio.
Sam Fuller knew what real crooks, cops, Army men and news guys were like, and he encouraged his casts to play it hard, spiky and dark. American film executives were often bewildered by Sam, and so were American film critics. But the French loved him.
Fuller served as a soldier with the famed WWII infantry squadron The Big Red One (which he and star Lee Marvin portrayed, to the hilt, in their 1980 war saga of the same name). And he served as a 20th Century Fox contract writer-director, under the formidable Darryl F. Zanuck, which may have been almost as dangerous.
Like Don Siegel and Phil Karlson, Fuller was one of the masters of B-budgets, though he did all right with a few “As” too, including “The Big Red One,” and the Venice Film Festival prize winner (with Richard Widmark), “Pickup on South Street.” He never made anything soft and he never made anything that put you to sleep.
7:15 a.m. (4:15 a.m.): “I Shot Jesse James” (1949, Samuel Fuller). With John Ireland, Preston Foster and Barbara Britton. Reviewed in FNB on July 13, 2012.
8:45 a.m. (5:45 a.m.): “The Baron of Arizona” (1950, Fuller). Vincent Price at his slickest, suavest and meanest, playing a real-life Arizona land-grabber who almost stole the whole state.
10:30 a.m. (7:30 a.m.): “The Steel Helmet” (1951, Fuller). A very dark, grim and relentless Korean war movie, about a platoon under fire bivouacked in a Buddhist temple, led by a hard-case sergeant named Zack (Gene Evans). One of the few times Fuller had most of the critics in his corner; “The Steel Helmet” is a B-movie classic. With Steve Brodie, James Edwards and Robert Hutton.
12 p.m. (9 a.m.): “Run of the Arrow” (1957, Fuller). The Civil War is over. Southern rebel survivor Rod Steiger is in Sioux country out west, trying to survive. This film and Forty Guns (with Barbara Stanwyck as a tough cattle queen) are Fuller’s best westerns, though “Run of the Arrow” has the stronger cast. Besides Steiger, who affects an outrageous Irish- Confederate brogue, there’s Charley Bronson, Brian Keith, Ralph Meeker, Sarita Montiel and Jay C. Flippen.
1:30 p.m. (10:30 a.m.): “Verboten!” (1958, Fuller). James Best, who usually plays sensitive cowboys, is a nosey yank soldier in post-war Germany, whose German girlfriend (Susan Cummings) leads him to a secret neo-Nazi group.
3 p.m. (12 p.m.): “Merrill’s Marauders” (1962, Fuller). Jeff Chandler, in his last movie, plays the real-life WW2 hero General Frank Merrill of the famed Merrill’s Marauders — fighting and suffering in the Burmese jungles, in what’s probably Fuller’s most conventional war picture. But it’s a good one anyway. Chandler is backed by much of the Warner Brothers TV Western repertory troupe: Claude Akins, Andrew Duggan, Ty Hardin, Will Hutchins and Peter Brown.
4: 45 p.m. (1:45 p.m.): “Shock Corridor” (1963, Fuller). With Peter Breck, Constance Towers, Gene Evans, James Edwards and Larry Tucker. Reviewed in FNB on Nov. 16, 2011.
6:30 p.m. (3:30 p.m.): “The Naked Kiss” (1964, Fuller). With Constance Towers, Anthony Eisley, Virginia Grey, Michael Dante, and Patsy Kelly. Reviewed in FNB on Jan. 16, 2012. More
By Mr E Man and Mark Harrington
The Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir from the schedule of Turner Classic Movies (TCM), which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).
Pick of the Week
“Odds Against Tomorrow”
(1959, Robert Wise). 1 a.m. (10 p.m.) Monday, Jan. 20
Here is one of the great, underrated film noirs – a movie whose reputation and stature was recognized early on by French critics and has continued to grow over the past half century.
Based on a novel by suspense specialist William McGivern (“The Big Heat”), “Odds Against Tomorrow” boasts a riveting and exciting story, unforgettable characters and a social/political allegory that’s pointed and powerful. With Harry Belafonte, Robert Ryan, Shelley Winters and Gloria Grahame. Read the full review here.
Thursday, Jan. 16
12:30 a.m. (9:30 p.m.): “A Woman’s Face” (1941, George Cukor). A crime boss (Joan Crawford) with a ruined face has her physical damage repaired by plastic surgery. Embarking on another crime, she must decide whether to pursue the evil she knows or the good that beckons. Remade from the 1939 Swedish thriller by director Gustaf Molander, with Ingrid Bergman in Crawford’s part. The original was better, but the remake is good. The supporting cast includes Melvyn Douglas, Conrad Veidt (in his Hollywood specialty, a smooth sadistic villain), Reginald Owen, Marjorie Main and Henry Daniell. Script by Donald Ogden Stewart and mystery writer Elliot Paul.
4:15 a.m. (1:15 a.m.): “These are the Damned” (1963, Joseph Losey). Expatriate American director Losey, a Black List victim, was still in Britain when he made this scintillatingly shot mix of neo-noir, juvenile delinquent thriller, and “Village of the Damned”-style anti-war science fiction. MacDonald Carey is the boat enthusiast/ businessman at a coastal British city, who falls for a Teddy Girl (Shirley Anne Field). Her gang-boss brother (played by sullen young Oliver Reed) is touchy, jealous and dangerous. Chased by the gang (whose signature song is the bizarrely uncatchy psychotic-sounding pseudo-rock ballad “Black Leather! Black Leather! Kill! Kill! Kill!”), the couple escapes to an island in the grip of a doomsday scientific experiment with irradiated children, run by Alexander Knox. It’s a pretty crazy show, but it really grips you, and it looks great. Written by Losey regular Evan Jones (“Eva” and “King and Country”).
Saturday, Jan. 18
8 p.m. (5 p.m.): “Lifeboat” (1944, Alfred Hitchcock). During World War II, an American ocean liner is torpedoed by a Nazi submarine. The survivors – now trapped in the lifeboat and in the vast waters – have to decide whether to trust the only person among them who knows how to navigate the boat: the Nazi captain of the sub that sunk them (Walter Slezak). This anti-Fascist parable/thriller and character study, the most political and left-wing movie Alfred Hitchcock ever made, was originally written by John Steinbeck; Ben Hecht and Jo Swerling also had hands in it. Shot basically in one studio tank and in the lifeboat, this underrated flick features a shocker of an ending and a first-rate cast, including Tallulah Bankhead, John Hodiak, William Bendix, Canada Lee, Hume Cronyn and Henry Hull.
Sunday, Jan. 19
6 a.m. (3 a.m.): “The Two Mrs. Carrolls” (1947, Peter Godfrey). With Humphrey Bogart, Barbara Stanwyck and Alexis Smith. Reviewed in FNB on June 27, 2012. More
I am greatly looking forward to seeing the LA County Museum of Art (LACMA) exhibition and film program Under the Mexican Sky: Gabriel Figueroa—Art and Film.
Mexico was home to a vibrant, commercially stable film industry in the early 1930s through the 1950s. The Golden Age of Mexican Cinema series will explore Figueroa’s contributions as a groundbreaking cinematographer, a master of light and contrast.
Figueroa spent time on the set of Soviet master Sergei Eisenstein’s “¡Que Viva México!,” had an apprenticeship with Hollywood cinematographer Gregg Toland, and was friends with painters such as Diego Rivera. (The series is co-presented by the Academy of Motion Pictures Arts and Sciences.)
This weekend, two film noir delights are screening: “Dias de Otoño” (Autumn Days, 1963, Roberto Gavaldón) and “Distinto Amanecer” (Another Dawn, 1941, Julio Bracho). You can read the museum’s synopses here.
Upcoming film series will highlight Figueroa’s work with Spanish surrealist Luis Buñuel, the Hollywood films that the cinematographer shot over his 50-year career for directors such as John Huston and John Ford, the films of the early 1930s that spurred Figueroa, and contemporary Mexican filmmakers whose work invokes Figueroa’s legacy.
Meanwhile, the New York Film Festival opened today with “Captain Phillips.” Manohla Dargis of the New York Times gives her assessment here.
The Natural History Museum in downtown Los Angeles will mark the 100th anniversary of the Los Angeles Aqueduct by hosting a screening of the neo-noir masterpiece “Chinatown,” directed by Roman Polanski and written by Robert Towne. Doors open at 6 p.m. Friday, Sept. 27; the screening starts at 7 p.m.
David Ulin, book critic of the Los Angeles Times, will moderate a brief panel discussion with history professor William Deverell, cultural commentator Sandra Tsing Loh and Christine Mulholland. They will discuss the facts and fiction in Polanski and Towne’s iconic look at greed, power, lust and the rise of modern Los Angeles. This event is free, but space is limited. RSVP HERE. Use the Exposition entrance. You can bring a picnic or buy dinner from on-site food trucks.
We love this film so much we reviewed it twice: FNB’s review and Mark Harrington’s review.
Starbuck/2011/Caramel Films, Les Films Christal, Entertainment One/109 min.
Every once in a while, I need a break from the double-dealing dark side and so I indulge in lighter fare. The premise of “Starbuck,” a French-Canadian comedy co-written and directed by Ken Scott, promises an offbeat angle for its humor.
Based on real events, it’s the story of a 42-year-old man-boy named David Wosniak (Patrick Huard) who, on the brink of having a child with his girlfriend (Julie Le Breton), discovers that in fact he already has 533 children, thanks to his frequent sperm donations (under the name Starbuck) at a fertility clinic near his home. His offspring are now adults and 142 of them file a class-action lawsuit to determine the identity of their biological father.
Huard is an extremely appealing actor and is ideally cast as the good-hearted bumbler; Le Breton and the rest of the cast offer solid support. The problem is that “Starbuck” – primarily due to its clumsy, sometimes forced, script – doesn’t live up to its potential. As the stuff-happens plot unfolds, David’s life becomes slightly more chaotic. But it wasn’t particularly orderly to begin with and, since he’s open to meeting these strangers/children and involving himself in their lives, there’s not a whole lot at stake.
Again and again, we see that despite being a little reckless and a lot feckless, he’s a decent guy with a big heart. Nice. And now he’s going to make that 534 kids. Also nice, except that there’s so little dramatic tension, it’s very hard to get swept up in what should be a crazy adventure (but isn’t) and even harder to play the laughs.
Despite having the perfect ingredients for a cinematic soufflé, “Starbuck” falls flat. There is a U.S. version in the works called “The Delivery Man,” slated for a fall release, which just might be that rare instance in which a Hollywood remake of a foreign film yields a classic confection.
“Starbuck” opens today in New York and LA, with a national rollout to follow. (In French with subtitles.)
Tabu/2012/Adopt Films/118 min.
“I was interested in characters we don’t usually meet in films, female characters with distinguishing temperaments and peculiarities” says Portuguese director Miguel Gomes of his film “Tabu.”
Indeed, the finely drawn yet ordinary characters are what drive the story in this languid, sometimes lyrical, film with a neo-noir love triangle at its core. “Tabu” starts slowly, introducing us to newly retired and somewhat restless Pilar (Teresa Madruga) and Santa (Isabel Cardoso), a maid to the elderly Aurora (Laura Soveral), who asks to see a mysterious man from her past once more before she dies.
Her request spurs an exploration of the dramatic life she led and the memorable men she charmed (Ivo Müller and Carloto Cotta) 50 years ago on a colonial farm in Africa, at the foothill of Mount Tabu. (Ana Moreira plays young Aurora.)
The flashback deftly mixes poetry, rock ’n’ roll, amour, adultery and, of course, societal taboos in a compelling and ultimately poignant yarn. By the end, we know Aurora, and the people around her, past and present.
Shot in black and white (35 mm for the first part, 16 mm for the second), “Tabu” has been snaring international awards for its unique blend of romantic drama and visual beauty. Though its unhurried pacing may not be everyone’s cup of tea, Gomes’ “Tabu” rewards the patient viewer.
“Tabu” opens today at Laemmle’s Royal in West LA and Laemmle’s Playhouse 7 in Pasadena.
On Friday, Dec. 14, the horrific, unthinkable and heart-wrenching news broke that a gunman opened fire in a Connecticut school and killed 26 people – 20 of them children. All of the children were either 6 or 7 years old. The gunman also killed his mother.
The tragedy brought to mind the first stanza of W.B. Yeats’ poem “The Second Coming.”
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
The question of why this happened can never be adequately answered. Yet there is perhaps some solace to be found in reflecting on the actions of the school’s principal Dawn Hochsprung, along with staff members and teachers such as Victoria Soto, who proved to be heroes of rare unselfishness and uncommon courage.
There are a number of ways to lend your support in the wake of this terrible tragedy. The Sandy Hook Elementary School victims, their families and other survivors will be forever in our thoughts and prayers.
