SHANGHAI EXPRESS (1932)

September 28, 2020

(DVD/Blu-Ray) While Marlene Dietrich’s breakout film was THE BLUE ANGEL (1930) and the first of several films she’d make with director Josef von Sterberg, and while Sternberg’s MOROCCO (also 1930) was her first American film — and also featured her in a tuxedo — it’s Sternberg’s SHANGHAI EXPRESS (1932) that I think of when I think of Dietrich. It’s the pinnacle of his layered use of sets and textures and Dietrich’s unique ‘butterfly’ lighting style, resulting in a film that looked like nothing anyone had seen at the time, and is often copied, especially the film’s use of netting, feathers, lace, etc.

(More on butterfly lighting: https://onphotography.me/2019/10/13/marlene-dietrich-and-the-invention-of-butterfly-lighting/ )

Warning: certain facets of this film have not aged well, as you may be able to glean from the trailer or, hell, just the film’s title.

https://www.youtube.com/watch?v=F3Qljls-FkI

THE LADY FROM SHANGHAI (1947)

September 27, 2020

(fubo/Plex/Prime/VOD) Arguably Orson Welles’ most influential noir — although not the best, as that honor belongs to TOUCH OF EVIL — in that you’ve almost certainly seen a film or TV show that has lifted from its carnival scene.*

(If you’ve watched Lindelof’s WATCHMEN mini-series, you know what I’m talking about.)

The film itself is a bit of a mess, and Welles’ absolutely ridiculous accent doesn’t help matters, but Rita Hayworth is a fantastic femme fatale — it’s worth noting that she was married to Welles at the time — as is significant character actor (and a member of Welles’ Mercury Theatre stable) Everett Sloane, and the piece is elevated by audacious visuals.

  • Fun fact: The carnival scene was originally meant to last twenty minutes. It ultimately was cut down to under four.

DARK PASSAGE (1947)

September 26, 2020

(VOD) Another undersung Bogart film, this time coupled with Bacall. Based on David Goodis’ novel — which, sadly, I have yet to read — it’s a far more sophisticated first-person noir than the gimmicky adaptation of Chandler’s THE LADY IN THE LAKE (also 1947). Burton’s infamous Joker reveal scene in BATMAN (1989) was absolutely cribbed from DARK PASSAGE.

IN A LONELY PLACE (1950)

September 25, 2020

(Plex/Prime/VOD) Adapted from the groundbreaking Dorothy B. Hughes novel, Nicolas Ray’s film is less of an examination of PTSD and toxic masculinity than that of a melodramatic noir of a distrustful couple. It’s a completely different beast, but no less powerful, mostly because Ray was contractually obligated to make the film with his recent ex-wife Gloria Grahame, who he divorced because he caught her in bed with his 13-year-old son, whom she later married. (Yes, really. https://medium.com/@stowens/the-not-so-wonderful-life-of-gloria-grahame-2d996a843c83 )

It’s a gorgeous, sad, film that utilizes Bogart’s charisma and volatility, while also leveraging some pitch-perfect production design, and puts post-WWII emotions on display.

ENTER THE VOID (2009)

September 24, 2020

(AMC+/VOD) One of the first modern films I can think of to assume the back-facing third-person perspective of videogames as the primary POV of a film. (Although, uh, it’s for different reasons. Also: strobe warning in advance for the following videos!)

Like all Gaspar Noe films, you’ll never want to re-watch it, you’ll probably regret having watched it in the first place, but you’ll never, ever, forget it.

If you want to skip the film itself, the title sequence is a goddamn typographical masterpiece:

(I miss the heyday of 90s/naughts design. Nowadays, all text design is flat, dull, character-less, meant to be readable regardless of device screen size. Scaling is overrated!)

LET THE CORPSES TAN (2017)

September 23, 2020

(AMC+/kanopy/Shudder/VOD) Amplified western giallo: you’ll hear every twist of leather, you’ll see every wisp of hair, taste every bit of grit, smell their sweat and gunpowder. It’s entirely about sensuality, and it’s so extraordinarily satisfying.

Also, it’s a damn thrilling heist film and, when shit goes sideways — as it always does — it becomes something astounding.

BATMAN RETURNS (1992)

September 22, 2020

(HBO MAX/VOD) Tim Burton’s sequel — which seems to be unfairly forgotten, even more than the Schumacher sequels — manages to give us the best on-screen version of Catwoman, as well as the most intriguing and spectacular art and production design (sorry, not sorry Nolan) of the film franchise. Also, it’s more disturbing than you remember, and still goth as fuck.

INSIDE DAISY CLOVER (1965)

September 21, 2020

(VOD) A meta ‘Hollywood will tear you apart’ tale featuring Natalie Wood in yet another role where she doesn’t get to use her own voice. It’s so meta that there’s an explicit musical number named YOU’RE GONNA HEAR FROM ME and, while it’s occasionally her own voice, it’s mostly Jackie/Robin Ward.

They really put a pin in it with Daisy’s breakdown scene which, yes it’s overly dramatic, bordering on camp, but I found it stunning, and loved the silencing.

Probably nobody’s favorite film — it’s too ramshackle and self-indulgent, and the end leans too much on being ‘hysterical’ (again, I can’t argue against camp claims) — but it’s worth watching, especially for the numbers.

BUTTERFIELD 8 (1960)

September 20, 2020

(VOD) A sensationalistic drama about transactional sex, based on James O’Hara’s 1935 novel, but the adaptation takes place ~1960, which makes a major difference regarding attitudes towards sex. Also, the NYC bars, which are by far the most interesting facets of O’Hara’s novel, are mostly unmemorable in the film.

Context aside, the opening sequence is by far the reason to watch this film. It’s pitch-perfect character exposition and exquisitely sets everything up for what’s about to unfurl, plus it’s very on-brand for Elizabeth Taylor (who only did the film out of contractual obligation, but then won her first Oscar for it).

NO SALE!

LAURA (1944)

September 19, 2020

(VOD) Vera Caspary’s book is fantastic, but there’s a push-in midway through Otto Preminger’s classic noir that reframes everything, complicating the narrative in a way that more artfully sets up some of the twists and turns than in the novel. If you’re watching for the cast, it’s stellar: Dana Andrews, Gene Tierney and, of course, Vincent Price.