At the 2006 film festival I saw a gorgeous new 35mm print of The Window, introduced by Eddie Muller of the Film Noir Foundation. One could draw a straight line from that screening to last week, where I spent every day at SIFF at the Uptown, watching 13 of the 14 films in the 2012 Noir City lineup.
The best night was Sunday, and not just because we all got to feel superior for coming out to noir instead of watching the Oscars. It kicked off with The Great Gatsby, an adaptation I didn’t even know existed until the Noir City schedule came out. It’s quite a treat, starring Alan Ladd as Gatsby. Is it noir? Well, it does include the perfect casting of Shelley Winters as Myrtle. And any film with Elisha Cook Jr has at least a little noir going on.
I’m looking forward to the Baz Luhrmann Gatsby later this year, mostly because I think Carey Mulligan as Daisy will be worth the price of admission & Joel Edgerton as Tom sounds interesting, but Ladd was a fantastic Gatsby. Leo has a lot to live up to.
It was followed by Three Strangers, which was the biggest surprise of the series for me. I can’t say it enough: Peter Lorre as a romantic lead! Amazing!
Geraldine Fitzgerald, rocking some seriously crazy eyes, has obtained the statue of a Chinese goddess which will, if you follow the rules, grant a wish to the three strangers of the title. Fitzgerald recruits Lorre & Sydney Greenstreet to make the wish with her, and of course nothing goes according to plan. It’s quite a character study & a commentary on fate. It’s not available on VHS or DVD, but if you have TCM it pops up there from time to time. Recommended!
Perhaps the most unlikely evening was the double feature of so-called “comedy noir”. The first pick was Unfaithfully Yours, which about five minutes in I realized I had seen before, but never in the theater.
It’s a Preston Sturges film, starring Rex Harrison as a symphony conductor who believes his wife has been stepping out on him. Structurally it’s pretty interesting; a large portion of the film is made up of fantasy sequences. More importantly: it’s hilarious. Also, it’s available on DVD, so you can check it out!
The second film that night was The Good Humor Man, which was basically film noir by way of Looney Tunes. It has the bones of a straight-up noir picture: an everyman encounters the femme fatale who poses as a damsel in distress and lures him into the underworld. However, this is the first noir I’ve seen where the final shoot-out includes cream pies. It was a tad too golly-gee slapstick for my personal taste, but I can definitely appreciate it as an exercise in stretching the definition of noir.
Other highlights included Thieves’ Highway (available on Criterion), Laura (a classic, and definitely fun to see again), Naked Alibi (for Gloria Grahame), & Pickup (a solid B picture with Beverly Michaels as a helluva dame & writer/director/producer Hugo Haas as the utterly sympathetic Czech immigrant she’s trying to scam).
What were your favorites? I’m already looking forward to next year!