The League of Shadows. Set amid the devastation of post-war Vienna, The Third Man is a twisted take on the noir thriller — a black-and-white canvas for some very grey morality.
I suppose it was inevitable. You start making shadowy films and perhaps you give the camera a bit of a tilt. And I’ll be, that looks pretty damn cool. But soon you crave more — the tough streets aren’t tough enough; the light and dark still seem too grey; and that woozy angle, well, it feels more like a gentle lean. So you escalate — like a cinematic arms race: your Maltese Falcons become your Big Sleeps become your Out of the Pasts. But where does it end?
Apparently in Vienna.
Director Carol Reed’s The Third Man (1948) may not traffic in tough guy patois, but it is in many respects the ultimate in film noir. Who needs the mean streets when you have literally bombed out boulevards? Still too nice? — then we’ll take to the sewers. Shadows for atmosphere? — bah, make them dominate entire city blocks. And is there ever a need for the camera to be level? Written for the screen by acclaimed author Graham Greene, The Third Man is almost hallucinatory in its paranoia and intrigue. The film follows the inept sleuthing of Holly Martins — a failed novelist and walking personification of the ugly American — as he tries to clear the name of his friend Harry Lime. As twisting and turning as its cinematography, The Third Man is often cited as the best British film of all time. Continue reading
Like Dylan in the movies. Robert Mitchum stars as a former private detective whose old life comes back to haunt him in director Jacques Torneur’s noir thriller Out of the Past.
We’ve had a few list films of late that have latched onto the visual dynamics of film noir. But for all the canted angles and exaggerated shadows, the 1940s entries on the Sight & Sound list have been rather light on actual noir movies. Thankfully that changes with our latest viewing experience: Out of the Past (1947), a tale of devilish dames, compromised detectives, and the inescapable pull of fate. And also badass dialogue, with the film dropping a host of noir patter that should leave Phillip Marlowe green with envy. Out of the Past marks the sole entry on the list by director Jacques Torneur, a filmmaker otherwise best known for helming some early horror classics like The Cat People (1942) and I Walked With a Zombie (1943). This horror background serves him well in the noir genre, bringing a deeper darkness to the cinematography than most other such movies, but also finding the crowd-pleasing humor in the sudden violence and double dealing. Out of the Past also marks the first list appearance by actor Robert Mitchum, who brings a laconic cool to the role that seems like much less of an affectation than with most other noir anti-heroes. Throw in a spectacular femme fatale in Jane Greer and a wonderfully smarmy early performance by Kirk Douglas, and you get a crackerjack piece of entertainment that is as existential as it is exuberant. (97 min.) Continue reading
Crooked dealings. Alfred Hitchcock gets noiry with his angles and lighting in the post-WWII political thriller Notorious, starring Cary Grant (pictured), Ingrid Bergman, and Claude Rains.
And lo! Fan With a Movie Yammer has finally reached its first film by arguably the most famous director who ever lived. Yes, Alfred Hitchcock takes the stage in this yammer with his oldest entry on the Sight & Sound list: Notorious (1946). The British director certainly made a name for himself in his native land, getting into the directing biz back in the silent era, but it was in Hollywood where the “Master of Suspense” principally made his mark. And Notorious is a very Hollywood production in many ways, with its A-list stars, pro-America plotting, and Edith Head costumes. But the film runs darker than a lot of American studio productions, incorporating noir elements in its story of a federal agent (Cary Grant) enlisting the daughter of a Nazi spy (Ingrid Bergman) to infiltrate a ring of Nazi émigrés up to some sort of shady business down in Brazil. Though set after World War II, the film harnesses the trauma of that conflict and the brand new concerns of the nuclear age to craft a clockwork espionage thriller. And the movie largely lives up to its title, dealing in murky ethical waters with some very unsavory or emotionally damaged characters who are working to balance love and duty — even if the duty part may be quite distasteful indeed. (101 min.) Continue reading