Noirvember 2016, Episode 14: While the City Sleeps (1956)

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While the City Sleeps (1956) Fritz Lang
(1:35)
FilmStruck

Newspaper mogul Amos Kyne (Robert Warwick) is clearly in his last days as head of a publishing empire. When he dies, his ne’er-do-well son Walter (Vincent Price, below right) takes control of the paper. Walter’s a real tool, but at least he realizes he needs someone who actually knows the newspaper business and can run things while he acts as the glory-seeking figurehead.

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Noirvember 2016, Episode 13: On Dangerous Ground (1952)

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On Dangerous Ground (1952) Nicholas Ray (2x)
(1:22)
Warner Archive Blu-ray

In every Nicholas Ray film I’ve seen, there’s always an underlying darkness that emerges from within what appears to be a conventional (or more likely an unconventional) drama and that’s certainly true of On Dangerous Ground. I just started reading Nicholas Ray: An American Journey by Bernard Eisenschitz, which is a fascinating look at the director’s life and work. I haven’t gotten that far into the book, but I feel certain that loneliness and isolation play a big part in many of his films. They certainly do in this one.

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High Sierra (1941) Raoul Walsh

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High Sierra (1941)
Directed by Raoul Walsh
Produced by Hal B. Wallis and Mark Hellinger
Written by John Huston and W.R. Burnett, based on the Burnett novel
Cinematography by Tony Gaudio
Edited by Jack Killifer
Music by Adolph Deutsch
Warner Bros.
TCM Greatest Classic Gangsters – Humphrey Bogart DVD (1:40)

“You know, Mac, sometimes I feel like I don’t know what it’s all about anymore.”
– Roy Earle

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It may be true that The Petrified Forest (1936) helped launch Humphrey Bogart’s career, but High Sierra (1941) made him a star. Roy Earle is a much more complex character than Duke Mantee and Bogart’s acting chops had developed nicely in the five years between roles. While High Sierra lifted Bogart to the upper tier of leading men, the film also signaled the demise of the gangster picture, a genre that had seemingly endless staying power in the 1930s.

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The Great Villain Blogathon 2016: Emmett Myers from The Hitch-Hiker (1953)

The Hitch-Hiker (1953) Ida Lupino
Kino Classics Blu-ray (1:11)

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This post is part of The Great Villain Blogathon hosted by Ruth of Silver Screenings, Karen of Shadows & Satin, and Kristina of Speakeasy. Thanks to all these ladies for accepting this post!

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The term “villain” implies that there must also be present within a story, a hero or heroes. The villain (other synonyms include scoundrel, reprobate, cur, miscreant, rogue, louse, brute, renegade, and significantly in our case – devil) is meant to be someone so diametrically opposite from the hero that he (or she) is immediately recognizable, yet completely foreign to the protagonist. How disconcerting to discover that the villain may, in fact, be someone very much like ourselves. This disturbing realization is part of what lies at the heart of Ida Lupino’s The Hitch-Hiker, brought about through its villain Emmett Myers.

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Private Hell 36 (1954) Don Siegel

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Private Hell 36 (1954) Don Siegel
(1:21)
The Filmakers
Amazon Instant Video

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In New York City, a man is robbed of $300,000 and murdered. Months later, several of the bills from that robbery begin appearing in Los Angeles. One such bill – a fifty – is given to a nightclub singer named Lili (Ida Lupino) as a tip. L.A. police detectives Cal Bruner (Steve Cochran, left) and Jack Farnham (Howard Duff, right) investigate, asking Lili if she thinks she could help them find the man who tipped her.

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Happy Birthday, Ida Lupino

Ida Lupino Looking Through Movie Camera

Happy Birthday to an actress/director who doesn’t get nearly as much recognition as she should – Ida Lupino, a very important name in female directors. I’m still waiting on a good biography of Lupino… All the ones I’ve heard about seem to have problems or limitations. In honor of Lupino’s birthday, I think I’ll watch her 1953 film noir The Hitch-Hiker.

The Hitch-Hiker (1953)