NOIR
CITY 6: IT’S A BITTER LITTLE WORLD
Music
Box Theatre, Chicago, IL
Friday,
August 29th – Thursday, September 4th, 2014
Last
night NOIR CITY 6 got started properly with the Film Noir Foundation's new 35mm
restoration of TOO LATE FOR TEARS (1949,
United Artists, 99m), pieced together from three different sources over a
5-year(!) period according to film historian and festival host Alan K. Rode.
Jane (Lizabeth Scott) and Alan (Arthur Kennedy) review finances in TOO LATE FOR TEARS |
Even
for a film noir femme fatale, Jane
Palmer (Lizabeth Scott) is exceptionally venomous. She and her husband Alan (Arthur
Kennedy) get possession of a sizeable satchel of money, which makes Alan
nervous from the get-go. But Jane thinks her prayers have been answered, and
will do absolutely anything to keep the money. Another claimant to the cash emerges,
tough guy Danny Fuller (Dan Duryea), who does not hesitate to get rough with
Jane when she proves uncooperative. Danny is used to having the upper hand with
women, it seems, but it is not long before Jane starts to effectively
manipulate him, as she does everyone else. She's so single-mindedly greedy and
vicious even Danny can't believe it; his final look at her says it all.
Working
from a screenplay by Roy Huggins (THE FUGITIVE [1963–1967], THE ROCKFORD FILES
[1974–1980]), director Byron Haskin (I
WALK ALONE [1947]) subtly drags the viewer uncomfortably close to the
violent subject matter. TOO LATE FOR
TEARS is one of the most complete examples of late '40s-era noir to feature Lizabeth Scott, though
Rode noted this is not one of her favorites (the retired actress is still
alive, now in her early 90s). This new restoration is not perfect—some artifacts
sprout up from time to time—but overall this is a terrific presentation of TOO LATE FOR TEARS, and it was received
enthusiastically by last night's large audience. Let's hope this resurrected noir treasure gets the Blu-ray or DVD reissue
it so richly deserves.
Next up
was a newly-created 35mm print of ROADBLOCK
(1951, RKO Radio Pictures, 73m). Directed by Harold Daniels, it's another story
with a large quantity of cash at its center, but a more mild brand of femme
fatale. Insurance investigator "Honest Joe” Peters (Charles McGraw) earns
$350 a month, hardly enough to maintain the interest of a sexy young brunette like
Diane (Joan Dixon). Based on some inside information, Joe devises a plan
working with local racketeer Kendall Webb (Lowell Gilmore) to secure sufficient
funding to provide for Diane's needs. Rather amazingly, Diane does an about
face regarding the importance of money. More predictably, it is not possible to
cancel the crime operation that has been initiated.
This is
a supremely entertaining "downward spiral" B-noir, with McGraw offering his usual assertive performance. The suspense
builds to a climactic chase within the concrete confines of the Los
Angeles River, a sequence well covered by cinematographer Nicholas Musuraca (CAT PEOPLE [1942], OUT OF THE PAST [1947]). ROADBLOCK
is available as a made-to-order DVD via the Warner Archive.
This
year's week-long NOIR CITY event has an international flair. Complete information on remaining showtimes can be found here:
For film fans of all
kinds, attendance is mandatory.
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