Not exact matches
The late Gloria Grahame, the
bad girl of
film noir, blazed up the screen as the local temptress in It's a Wonderful Life, the girl who couldn't say no -LRB-...)
You may remember from the last column, US # 77, I wrote about the 1947
film noir Desperate and mentioned that the leading character got his wife out of town before the
bad guys could do her any harm.
Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the
film within the camera — and the various
noir «types» that inhabit the narrative, such as the «
bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»
In the hotel that Colleoni calls home, the furniture is too kitsch and gaudy; the messy marital home of Pinkie looks like a
badly put together and unauthentic theatre stage; and the incorporation of bikers doesn't work because Joffe is unable to escape the fact that the source material lends itself to
film noir.
Along with longtime producing and writing partner Grant Heslov, Clooney took the Coen Brothers» post-Blood Simple, proto - Fargo script and married a classic Coen Brothers» plot involving greedy, inept criminals, cosmic comeuppance, and
film noir homage to a woefully misguided,
badly underwritten, running racial subplot that could have been safely deleted altogether or rewritten as a standalone
film.
Bening, who bears an uncanny resemblance to Grahame, gives a stunning, mature performance as the famous actress who won an Academy Award for the 1952 The
Bad and the Beautiful, that title an apt description for Grahame's
film noir roles, my favorite The Big Heat.
Directed by Paul McGuigan (in a decisive change of pace after «Victor Frankenstein»), the
film offers a «My Week With Marilyn» - style gloss on the life of the great, oft - neglected stage and screen actress Gloria Grahame (Bening), who won an Academy Award for «The
Bad and the Beautiful» and who is perhaps best remembered now for her heartbreaking performance opposite Humphrey Bogart in Nicholas Ray's 1950
noir masterpiece, «In a Lonely Place.»
Ryan, one of the great
film noir heavies, could play sociopathic
bad guys like few other actors on screen.
Although this subject matter never could have been made decades ago,
Bad Education is, at its heart, a throwback crime thriller, very similar in themes to the classic
film noir days.
Deadfall shares this cold climate with Sam Raimi's A Simple Plan but avoids that
film's ironic glee at the sight of greedy rubes going from
bad to
worse as they follow
noir's typically downhill trajectory.
Honing its craft the company largely focused on crime thrillers and
films noir such as Man Bait,
Bad Blonde, and Terror Street.
THE HOT SPOT Experience
film noir like never before when a lowlife drifter (Don Johnson, Django Unchained), who sells used cars in a Texas burg, robs the local bank and gets involved with two sultry women: one
bad, one innocent.
The Square could easily be an Australian cousin to Blood Simple, only the new
film's downward spiral of
bad choices,
worse reactions and overall subterfuge goes much deeper and affects more people than the early Coen brothers»
noir.
The very suggestion of making a sequel to Ridley Scott's seminal sci - fi
noir Blade Runner was a
bad enough idea to send most self - respecting
film aficionados into a conniption fit, as Harrison Ford seemed determined to resurrect all of his most beloved characters and do his best to destroy their legacy one by one.
As in a typical
film noir, Getty falls for the
bad girl, conspires with her to commit some crime (including a murder or two) and comes to a
bad end.