But now things get really busy Read below for previews of coming attractions in Los Angeles four nights at the Aero Theatre beginning on September 6 and San Francisco six nights and twenty films coming to the Roxie starting November We change pace on Friday with two offbeat caper films:
These films were in many aspects influenced by the hard boil American style, presenting a certain closeness to the anti-hero figure and a feeling of disenchantment and at times contempt for society. Another interesting aspect that French noirs highlight is the importance of the female figure — femme fatale — as a centre or motor for the action.
In addition to this, visually speaking, naturally this French crime wave shares many aspects with the American noir, however the most sticking of them all which was perhaps proportioned because the golden age of French Noir coincided with the standardize use of colour that came with the s the combining of chiaroscuro techniques with colour.
Which to a certain extent is a key element to understand and praise the importance of French noir films. Despite the fact that even today, many of these influential films were also made in black and white.
Early Noir influences 1. Port of Shadows as it was titled in English is widely associated with French poetic realism, nevertheless, its praise comes also for its brutal ending and its dark atmosphere as Frank S.
Nugent describes in his review for the New York Times in It tells the story of a train conductor, troubled by his own murderous desires, who falls in love with a married woman who is equally troubled but for different reasons — she has helped her husband to commit murder.
However, these main characters often fail at reaching their goals and, sort of like in the classic theatre, see themselves doomed by a darker faith that usually dictates an endless disillusionment towards life or in some cases its end.
Le Corbeau, titled in English The Raven, released inis just the first of many films directed by Clouzot to display an interest with darker atmospheres and ideas such as cynicism, greed, lack of morale, detachment and even disenchantment.
Other interesting titles by the director that display a somewhat noir influence are, chronologically: The first is a tale of two women, the wife and the lover of the same man who plan to murder him.
Le Salaire de la Peur, titled in English The Wages of Fear which revolves around the dangerous voyage of four men who risk their safety when transporting a nitro-glycerine shipment across remote south America.
The excitement derives entirely from the awareness of nitro-glycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.
The film set in the Parisian suburbs revolves around a man known as Monsieur Hire portrayed by Michel Simon who becomes suspected of committing a crime, the murder of a maid.
Even though he is not guilty the man starts to be hunted by his neighbours and soon a crowd goes on the streets looking for avenging the young maid they think was murdered by a Hire —a Jew.
Despite its undeniably noir influence, being Monsieur Hire a sort of anti-heroic figure because of his unfitness within the Parisian community he lives in and an ordinary man that finds himself under extreme circumstances evolving a great degree of violence, the importance of this film derives from yet another important aspect as justified by author Susan Hayward in her book French National Cinema: Dark social realism is to be found in a considerable number of films during the five-year period after the end of the war.
In Justice est faite, a woman named Elsa is accused of murdering her lover, while on court, her case is discussed vividly by various jury members who put under questioning her previous life experiences, as well as, their own which allows them to see in the presented arguments by defence and prosecution, evidences of very distinctive things.
Le Guen who had been trained by the French resistance to pursuit and kill Germans and traitors during the war, continues to commit the same crimes in the post-war period.Cordon noir: here are the prime ingredients that go into the French version of film noir, which produced many classic crime movies from the s to s.
Cordon noir: here are the prime ingredients that go into the French version of film noir, which produced many classic crime movies from the s to s.
French Film Noir contains in-depth studies of a number of works, including Becker's Touchez pas au grisbi and Chabrol's Le Boucher, the political thrillers of Costa-Gavras, Bresson's intimate ethical studies and Jean Luc Godard's reworking of the French movie hero, wise-cracking neanderthal private eye Lemmy Caution in Alphaville.
Join intrepid French noir explorer Don Malcolm at San Francisco's Roxie Theater on Thursday evening, July 26, as he shines a light on the most unusual actresses in the entire French film noir canon. "We call Andrée Clément the first 'Goth girl' for her modern look, her intensity and her unique mingling of darkness and innocence," says Don.
The French coined the term “film noir” and did shadow-soaked crime dramas as well as or better than anyone. Join host Don Malcolm of Midcentury Productions for an intriguing blend of familiar names and fantastic dark films that you’ve never seen before.
The s film “Double Indemnity”, characterized as film noir, universally abides by the criteria set by Katz and thus is a perfect depiction of film noir. There are abundant amounts of night scenes, deep shadows and oblique choreography in the movie, as well as disillusioned and cynical characters.