Noirvember 2017: Week 3 Recap

Ok, pal... Here it is again...

It’s moving right along, isn’t it? Savor the noir as long as you can and if you’ve missed any of my previous posts or recaps, please check out the first two weeks here. Now on to the Week 3 recap:

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Noirvember 2017, Episode 20: Scandal Sheet (1952)

scandal sheet poster

Scandal Sheet (1952) Phil Karlson
TCM (1:22)

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I believe there’s no such thing as too much Phil Karlson, so I proudly present Scandal Sheet for your Noirvember viewing pleasure. Broderick Crawford (who previously appeared in The Mob) stars as Mark Chapman, a no-nonsense newspaper man who has taken over the slagging New York Express and – much to the chagrin of the paper’s Board of Directors – turned it into a tabloid sensation.

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Noirvember 2017, Episode 19: Dark City (1950)

Dark City (Paramount, 1950)

Dark City (1950) William Dieterle
Olive Films Blu-ray (1:38)

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Danny Haley (Charlton Heston, in his first major screen role) and his hustler buddies (Ed Begley and Jack Webb, with Harry Morgan hanging around) target a man named Winant (Don DeFore) in a poker game. Winant does well during his initial game, then gets into trouble when he returns the next night. Big trouble. Things get so bad that Winant’s brother comes around looking for the the gang of hustlers.

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Noirvember 2017, Episode 17: Manhandled (1949)

manhandled poster 1949

Manhandled (1949) Lewis R. Foster
TCM (1:37)

Writer Alton Bennet (Alan Napier) confides to his therapist Dr. Redmond (Harold Vermilyea) that he’s having nightmares of killing his wife Ruth (Irene Harvey), who just happens to own a very impressive collection of jewelry. Sure enough, Mrs. Bennet turns up dead and, of course, Alton is the leading suspect, but Detective Lieutenant Bill Dawson (Art Smith) thinks Alton is innocent.

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Noirvember 2017, Episode 16: The Dark Mirror (1946)

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The Dark Mirror (1946) Robert Siodmak
Olive Blu-ray (1:25)

Watching The Dark Mirror in 1946 was undoubtedly a fascinating experience. First of all you had Olivia de Havilland performing wonderfully as twin sisters, a Nunnally Johnson screenplay, cinematographer Milton R. Krasner, music by Dimitri Tiomkin and, of course, Robert Siodmak directing. Over 70 years later, the film’s impact is far less than it was in 1946, but this has less to do with the people who made the film than our understanding of psychology.

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