With a haunting voice, retro-glam sexiness, and material both subtle and raw, Juliette Beavan of 8mm melds a femme fatale’s sophistication with flinty rock energy. From the first searing notes, often punctuated by smoke and shadow, the songs draw you in like a Hitchcock thriller; lyrics linger in your head well beyond the show’s end. This part of “Crawl,” for instance, is hard to forget: “or maybe there’s another/ trick, another spell/ and I could change you/ and I’d draw you to me/ pull you to me, crawl to me./ draw you to me/ pull you to me/ call you to me/crawl to me.”
Her bandmates include her husband Sean Beavan (guitar, vocals) and Jon Nicholson (drums). They describe their sound as “trip-hop influenced pop-rock.” First-rate musicians, the guys are the perfect complement to Juliette’s vocals and keyboard.
“That’s right, blame it on the girl,” she might tease them between songs, before adjusting her mic or straightening a cord. A New Orleans native, she’s fond of bringing beads, candy and banter to toss to the eager crowd, many of whom clutch cameras the way people used to flick lighters as preface to an encore.
Together since 2004, 8mm has an impressive resume that includes four albums and several tours (the US, Canada, the UK and Chile). Sean Beavan, who hails from Cleveland, formerly worked with bands such as Marilyn Manson, Nine Inch Nails and God Lives Underwater. He and Juliette write the songs; their work has been featured in the 2005 film “Mr. & Mrs. Smith” as well as in a number of TV shows, including “One Tree Hill,” “Grey’s Anatomy,” “Moonlight,” “Dirt,” Road Rules,” and “The Real World: Sydney.”
You can see 8mm for yourself Friday, June 3, at the Roxy Theatre, with the Kidney Thieves, Cage 9, The Shakers and DJ High Voltage. The show starts at 8 p.m. and 8mm goes on at 9 p.m.
I caught up with Juliette recently to chat about the band’s penchant for noir.
Mr E Man: The band’s name is a film reference, your shows are richly atmospheric and your songs often deal with mystery, secrets, betrayal and hidden desire, much as a film noir would. Can you talk about how the aesthetic of film noir in general has been an influence for you?
Juliette Beavan: Yes, a reference to the film stock, because for us, 8mm film brings to mind smoky back rooms of 1930s Berlin, the first stag films, the early home movies … in other words, secrets, memories, longings (secret and professed) and decadence … all the things we try to bring to our music. They also happen to be things that are part and parcel to any good film noir. In addition, the look, the sleek styling, elegant and dangerous players, well, that sounds like a band to us!
FNB: Any femmes fatales that stand out for you? JB: Hahaha, are you gonna ask any questions with short answers? Where to start … Marlene Dietrich, Bette Davis, Marilyn Monroe, Gene Tierney, Lauren Bacall, Joan Crawford, Anne Baxter, Nora Zehetner in “Brick” does a wonderful job, not to mention (I know they’re not femmes fatales, but I would be remiss to leave the men out) Joseph Gordon-Levitt gives Bogey a run for his money in that film. And for the men, of course, there is the one and only Humphrey Bogart.
FNB: Of ’40s and ’50s singers or bands, who are your top favorites? JB: Nat King Cole, Frank Sinatra, Billie Holiday, Edith Piaf, Bing Crosby, to name a few.
FNB: Do you essentially get into character when you perform, especially Juliette as the frontwoman? JB: In a sense, yes, and it varies from song to song, because each one is a different story, character, sort of mini movie for us. I’m a storyteller not a character (like a GaGa or Madonna), so the approach is a little different. It only takes a note or two for me “see it” in my head again, to step into “her” shoes … from there it’s just natural.
You kind of have to use your whole body to tell the story, and the story becomes my own for that time.
FNB: Raymond Chandler said a good story cannot be devised; it has to be distilled. Do you think that’s true for writing songs and music? JB: Certainly at times … what Sean plays makes me see stories, so I suppose you could say that is a bit of a distilling process to bring the story down into its key emotional components for a 3 minute song. However, there are other times when you get a “cosmic FedEx” (a term we’re stealing from Scott Russo of Unwritten Law). That’s where the song comes to you almost writing itself and you have to grab and get it down before it moves on. You know, the muse will find another host if you aren’t paying attention.
Four days of devouring big-screen classics has left me deliciously sated! At least until my next film fest.
About 25,000 people attended this year’s sold-out TCM Classic Film Festival in Hollywood, which featured more than 70 films and special events. Stars who made appearances included Julie Andrews, Alec Baldwin, Drew Barrymore, Warren Beatty, Leslie Caron, Kirk Douglas, Angela Lansbury, Hayley Mills, Peter O’Toole, Jane Powell, Debbie Reynolds and Mickey Rooney.
Before the screening of 1940’s “Fantasia,” in Grauman’s Chinese Theatre on Sunday night, TCM’s Bob Osborne announced that there will be a third fest in 2012. He also announced a new event: the TCM Classic Cruise, Dec. 8-12, 2011, a five-day/four-night event aboard Celebrity Millennium. The cruise will sail from Miami to Key West and Cozumel.
Most important for me was getting my noir fix and, happily, dark delights abounded. For example, there was the chance to see Nicholas Ray’s “Bigger Than Life” with James Mason as a teacher struggling with an addiction to prescription cortisone. As co-star Barbara Rush told Osborne before the screening, this 1956 psychological drama has been programmed in several film noir festivals “because it’s so dark and so scary.”
As you’d expect from Ray, it’s very well done and the performances are excellent. Despite telling the audience that she was “very old,” Rush is very lively. When Osborne asked her to talk about her leading men, she replied, “I had them all!”
Another noir high point was meeting the charming Marya of Cinema_Fanatic and chatting with renowned author Foster Hirsch at the screening of 1953’s “Niagara,” directed by Henry Hathaway and starring Marilyn Monroe (as a murderous wife), Joseph Cotten (as her off-kilter husband) and Jean Peters (as a plucky, pretty brunette). Hirsch told the audience that film noir can absolutely be in color, describing “Niagara” both as a “minor masterpiece” and a “pulp-fiction paperback come to life.”
He pointed out the contrast in lighting between the bright exteriors and dark interiors, ending with the comment: “If you’ve come for laughs and joyous uplift, you’ve come to the wrong place.”
Also a treat was seeing “The Man with the Golden Arm” from 1955. Adapted from a Nelson Algren novel, it’s a story about drug addiction in a gritty urban setting, by master noir director Otto Preminger. I’d seen it before but, as with “Niagara,” the big screen really intensifies the storytelling. It is definitely Frank Sinatra’s best performance and one of Kim Novak’s finest as well. In attendance were Preminger’s daughter Vicki Preminger and Sinatra’s daughters Nancy Sinatra and Tina Sinatra. Rounding out the noir programming were “The Third Man” (Carol Reed, 1950), “Gaslight” (George Cukor, 1944) and “Taxi Driver” (Martin Scorsese, 1976).
Other films with noir elements included Orson Welles’ masterpiece “Citizen Kane” (1941), “The Tingler” (1959), “The Mummy” (1932), “Went the Day Well (1942) and “Whistle Down the Wind (1961). (I saw all but “Kane,” which I’ve seen several times before.)
The festival also honored master composer Bernard Herrmann, who scored “Citizen Kane” and “Taxi Driver” as well as “Psycho,” “Vertigo,” “Cape Fear” and many others.
On the neo-noir front, I’ll be excited to see Cinemax’s upcoming “Femme Fatales” anthology series “about powerful, sexy and dangerous women” starring Ana Alexander and Anya Monzikova, both of whom walked the fest’s red carpet to promote show.
The first of 13 stand-alone episode starts May 13 and I hope to catch up with the actresses sometime soon.
TCM’s Classic Film Festival starts tomorrow and I’m fretting about packing in all the viewing and events. Definite draws are the classic noirs “The Third Man,” which screens at 9 a.m. Saturday; Henry Hathaway’s “Niagara” from 1953, starring Marilyn Monroe, screening at 6:15 p.m. on Saturday; and “Gaslight” (George Cukor, 1944) showing at 9:30 p.m. Saturday. Other must-sees: Marlene Dietrich in “The Devil is a Woman” (Josef von Sternberg, 1935) at 10:15 p.m. Friday and “Citizen Kane” (Orson Welles, 1941) at 3:30 p.m. Saturday.
The Third Man/1949/(104 min. UK, 93 min. US)
If a city could be a femme fatale, it might be Vienna in “The Third Man” from 1949. The voiceover at the beginning of the film refers to “old Vienna with its Strauss music, its glamour and easy charm.” But new Vienna, a war-torn metropolis split into four Allied zones after World War Two, is a city living by its wits, host to a thriving black market. Hey, a girl’s gotta make a living somehow.
The voiceover also introduces us to a slightly naïve and completely broke newcomer to the hallowed city: Holly Martins (Joseph Cotten), an American writer of pulpy Western novels, who has come to visit his old friend and fellow Yank Harry Lime (Orson Welles), a sly operator.
Instead of a buddy reunion, though, Martins ends up at his friend’s funeral: Turns out Harry was hit by a car and has died. Also at the burial is the distinguished Major Calloway (Trevor Howard), who suggests they get a drink.
As they sip, Martins starts asking questions about Lime’s death and eventually suspects foul play. So, Martins hunts for more info and, along the way, he meets a handful of vaguely nefarious characters who traveled in Lime’s orbit: his porter (Paul Hoerbiger), “Baron” Kurtz (Ernst Deutsch), the Romanian known as Popescu (Siegfried Breuer), Dr. Winkel (Erich Ponto). One source he particularly likes is Anna Schmidt (Alida Valli), a sultry, cynical Czechoslovakian actress, who was also Lime’s lover.
What troubles Martins is learning that there were three men who carried Harry’s body from the street after he died, but he can only find two. Finding the mysterious third man drives the action, ultimately leading to a chilling chase through the dank sewers of underground Vienna.
Director/producer Carol Reed, working from a Graham Greene novel, draws us into a perfectly rendered world where tension and trouble pulse just beneath the surface, where anxiety and disillusion are tempered with fleeting pleasures and faded love. I love the details of everyday Viennese life: a moonfaced boy, an ancient balloon seller, a haggard landlady, a prowling cat and the forlorn-looking Teddy bears of the children’s hospital. The lecture hall scene reminds me of a similar passage in Hitchcock’s “The 39 Steps” from 1935. More
Screen legend and pop-culture icon Marilyn Monroe is known for many things (her amazing looks, bright talent and troubled personal life) but noir does not spring immediately to mind. And yet in “Niagara,” Monroe brilliantly tackles the role of devious vamp.
Directed by Henry Hathaway, this film is a bit hard to classify – the flashy Technicolor screams neo-noir while its 1953 release date puts it firmly in the classic noir camp. I suppose purists would argue that date trumps color and that neo noir doesn’t start until the 1970s, but I am nothing if not impure. Either way you want to label it, the characters, mood and color are irresistible, just like Monroe herself. We even get to see her sing.
In “Niagara,” we meet a wholesome good girl with a killer tan who’s on a “delayed” honeymoon (Jean Peters, as Polly Cutler) and a restless bad girl (Monroe as bored wife Rose Loomis), both staying at a Niagara Falls resort.
Polly and her husband Ray Cutler (Max Showalter, billed in this movie as Casey Adams) are the perky foilsto Rose and her husband George Loomis (Joseph Cotten). George is fond of grousing about Rose’s slinky sartorial choices, especially the famous red dress with a bikini-esque bustline). Perhaps crabbing about Rose’s hemline gets his mind off darker problems. George spent some time in a psychiatric ward after the war.
Rose hopes that by returning to the site of their honeymoon, George can pop a few pills and chill. But that doesn’t seem to be working and everyone knows that a voluptuous blonde is easily distracted. 😉 Enter Rose’s delicious young lover and soon-to-be accomplice (Richard Allan) as she makes her bid for freedom by getting rid of cranky George.
It seems divorce would not be enough to permanently dissolve their union. If Rose walks, George will run after her. But the good news for Rose is: accidents happen, especially at Niagara Falls …
Essentially, “Niagara” warns The American Man: It might be fun to ogle a centerfold hottie, but she’ll burn you if you get too close. Sex equals sin, after all, in a puritanical worldview. Then there’s the tedious symbolism of the falls for passion’s highs and lows. Even the trailer hammers home the warning: Monroe is a “tantalizing temptress who lures men on to their eternal destruction.”
All right, already, we get it!
Still, “Niagara” is a fascinating product of its time. It was a box-office hit and fared reasonably well with critics. As the New York Times put it: “The producers are making full use of both the grandeur of the Falls and its adjacent areas as well as the grandeur that is Marilyn Monroe.”
Monroe, though not at the height of her dramatic power, sparkles as the femme fatale, a role that is a bit more complicated than arm candy or ditzy ingénue; Cotten is great, as always, as the brooding, war-torn vet. Monroe’s wardrobe is terrific, even her shiny yellow raincoat for visiting the falls, and it’s impossible to take your eyes off of her. (According to imdb.com’s trivia section, because Monroe was still under contract to 20th Century Fox as a stock actor at a fixed salary, she made less money than her make-up man Allan Snyder.) More
When Marilyn Monroe plays the femme fatale in full Technicolor what man could resist? Burdened with a grumpy husband (Joseph Cotten), Marilyn and her lover (Richard Allan) attempt to engineer an “accident” over the falls. Shame about her nosy neighbors. Henry Hathaway directs.