Drama, Film-Noir, Mystery. With all the film noir set in Los Angeles, there had to be one about the inner workings of Hollywood, right? Robert Preston, Mitchell’s take is attuned to our digital and post-postmodern times and strikes a strange tone between comedy, discomfort, and millennial paranoia—but his is not the first film to employ and twist the codes of the genre to generate chills, laughs, and reflections on cinema itself.
92 min Phoenix impresses with his comedic timing and his atemporal quality: His oddness seems to fit into any era—or rather, not to fit into any of them, making him, paradoxically, always convincing. Black’s celebration of Downey’s dynamic—not to say neurotic—performance is just as transgressive of the genre’s norms. As the duo searches for clues to what happened to “Rita,” their relationship grows in intimacy and tenderness in a way that seems both true to how profound female friendships can feel, and yet also a little too soaked in movie magic. In perhaps his best and certainly one of his sexiest performances, a pre–Iron Man glow-up Robert Downey Jr. plays Harry Lockhart, a petty thief who ends up, like Bill Hader’s Barry, at an audition for a film whose plot mirrors closely his criminal lifestyle. Herschel Bernardi, On New Year's Eve 1946, Sheila Page kills her husband Barney. | Like all the aforementioned filmmakers but with his uniquely bold playfulness and cinematic vision (even though Inherent Vice is based on Thomas Pynchon’s eponymous novel), PTA gets loose with the film noir form only to better honor its essential dualities: people’s simultaneous longing for and dreading of the truth, their desire to see things clearly or instead remain in the idealized world of their (intoxicated) mind, their striving for forgetting and their nostalgia. Endorsement: The Times endorses Hoffman, Anderson, Henderson and Han for LACCD. All that said, its proper film noir, and among the best film noir movies of all time. Ida Lupino, | Crime, Drama, Film-Noir. A Los Angeles socialite kills a man while home alone one night and claims he was an intruder she did not know. Crime, Drama, Film-Noir. | Raymond Burr. In a last ditch effort to save her career, Norma heads to Paramount Pictures to speak with Cecil B. DeMille (who played himself).
Phillip Pine, Few films had used actual L.A. locations to such surreal effect, reaching its apotheosis with a Malibu beach house becoming Ground Zero for nuclear Armageddon. This meeting of public and private matters has often appeared in the film noir genre, but it also fits perfectly with the climate of increased scrutiny and suspicion of authority that characterized the later years of the Vietnam War. Yvonne De Carlo, | | |
The man leading the investigation in a classic film noir is never too impressive; often a drunk and always depressed, he nevertheless has a certain charm. Ida Lupino, Plus: ‘The Good Lord Bird,’ ‘The Boys,’ and Ryan and Musa From ‘Stadio’ on ‘All or Nothing.’, The Texans Are Finally Free of Bill O’Brien. Joan Bennett,
The plot, which sees Walter Neff (Fred MacMurray) and Phyllis Dietrichson (Barbara Stanwyck) conspiring to murder her husband to collect the payout, pushed the boundaries of a Hollywood story.
Tom Tully, Not Rated At the time of its release, the film perplexed many spectators (its lengthy runtime didn’t help), but it thrilled many too, and remained ingrained in my memory despite the fact that I still don’t really know what happens in it. Billy Wilder Crime, Film-Noir, Thriller. A doomed female hitchhiker pulls Mike Hammer into a deadly whirlpool of intrigue, revolving around a mysterious "great whatsit". 110 min Lizabeth Scott, In reality, the terminal used in that flick was the old Burbank Southern Pacific Station, which once stood at 201 N. Front St., but was partially burned down in 1991 and then completely demolished a few years later. Vince Edwards, Julie Adams,
| | Crime, Drama, Film-Noir. Touch of Evil’s infamous opening sequence, which was shot in one long continuous take, was filmed in the streets and alleys surrounding the Samesun, though the area has changed considerably in the ensuing years and is largely unrecognizable from its on-screen stint. Starting Friday at the Los Angeles County Museum of Art’s Bing Theater in conjunction will the museum’s “California Design, 1930-1965” exhibition, “California Noir” features a superb selection of 10 little-seen films that benefit greatly from the wide-screen, 35mm treatment. | Trump stages drive-by for supporters after doctors disclose more serious symptoms. Lynch implicates his audience in the very workings of his film by catering to Betty’s dreams (of Hollywood and movie sets, but also of romance, sex, and what her own personality could be), but also by revealing the sorrow that is at the root of these fantasies. 73 min 114 min | The Moroccan Room | Photo: Hollywood Athletic Club.
Director:
Crime, Drama, Film-Noir. Fred MacMurray, Sweet Smell of Success shows us that not all villains are jewel-robbing lowlives; white collar corruption can be just as treacherous.
110 min The same building, which houses production offices in real life, also masked as Blair General Hospital in the 1960s television series Dr. Kildaire. | Novelist James M. Cain and screenwriter Raymond Chandler understood the town's oily undercurrents better than most, and Billy Wilder's brilliant directorial shorthand perfectly captures the … His acting suggests an unstoppable systemic evil personified: By making Noah’s sins both business related and family bound, Polanski (with screenwriter Robert Towne) brings the sickening corruption hanging in the air in the mid-1970s into the viewer’s personal space.
Action, Adventure, Crime. The golden age of cinema is surprisingly dark. The best film noir movies tend to draw on that, but The Third Man has a noteworthy lens on that era since it was made in the UK rather than America.
Stars: John Lund, Miraculously, the restaurant still looks exactly the same today as it did when Dunaway sipped “a Tom Collins with lime, not lemon” there over four decades ago.
By commingling historical facts about the city's corrupt origins with a brilliantly realized mystery plot, writer Robert Towne and director Roman Polanski fashioned both the ultimate noir and the essential Los Angeles movie.
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