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What Film Noir did you see?: Permanently closed!


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Hello to the Homme and Femme Fatales of the dark alleyways,and welcome to the latest edition of your bimonthly thread.This is where we all get a chance to post our views on Film Noir or films of a similar ilk from Nordic Noir to Giallo.Although we are primarily about the Noir world,post on your non-Noir viewings are all welcomed as well,in the spirit of good conversation.

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CONTAINS SPOILERS


"Hans le Marin" 1949 Aka "The Wicked City", "Hafenbar von Marseille"



An American freighter docks in Marseille and three sailors head for the red light district for drinks and a bit of the old in-out, in-out. The three hit a bar called the "KIT-KAT Club" to see if they can find both. The one sailor, Jean -Pierre Aumont, sees a dazzling beauty at the bar and dumps the "working girl" he is with. The beauty, Maria Montez, (Aumont and Montez were married at the time) agrees to have a couple of dances with Aumont. Aumont is completely smitten with Montez and off they go to Montez's rooms.

Aumont's ship is leaving next day so early in the morning Montez walks Aumont down to the docks. They stop at a café for a last cognac. Out of francs, he pays the bill in US dollars which catches the eyes of waterfront thugs, Jean Roy and Marcel Dalio. Aumont asks Montez to wait for his return from sea. Montez just smiles as she has heard this tune before.

They leave the café, Aumont is jumped by the thugs, beaten unconscious and relieved of his cash and papers. They give Montez a smile and take off. Aumont wakes up in a hospital with a splitting headache. The police arrive and ask how he ended up there. All he recalls is that one of the men that mugged him was whistling a strange tune.

Released from the hospital, he goes to the KIT-KAT to look for Montez. He is refused entry since he cannot pony up the 150 franc cover. Out into the street he goes. His ship left a week ago, he is broke, and has no papers. He tries the American Consulate but is turned away because he cannot prove who he is. No papers, no money and no way to get a work permit. What a mess. Several days go by and things are getting worse. No place to stay and hungry. A young street peddler slips him some oranges and a few clues about possible work.

Speaking several languages, Aumont finds he can get work as a hawker for the nightclubs. By directing sailors etc to the clubs he gets a piece of the cover. Every night he takes his wages and hits the KIT-KAT looking for Montez. She is never there. Aumont hears from the boss that Montez had struck gold and has a rich sugar daddy. Aumont does not believe it because he 'knows" she loves only him.

One night while walking the club's gypsy fortune-teller, Lilli Palmer, home, he hears some strange whistling. He pulls Palmer into the shadows and has a quick look down the alley. Sure enough, here come the two thugs who robbed him. Aumont ambushes the pair. Dalio escapes but Roy is killed when he cracks his head open on the pavement following an Aumont punch.

Palmer grabs Aumont and quickly rushes him to the gypsy camp where he is hidden in case the Police come. Palmer has a crush on Aumont which of course Aumont does not notice. The Police soon grab up the second thug, Marcel Dalio, once his dead partner Roy is found. He tells them about Aumont and that he will find him for the Police. The detectives give Dalio 5 days to deliver Aumont or they will charge Dalio with the murder.

Aumont learns from the young orange peddler that his ship has returned to Marseille. He pays the ship a visit and finds that the ship is leaving for the States that night. He signs on for the trip back. He also arranges with some of the crew to smuggle the orange peddler on board. He wants the kid to have a better life in the U.S. than he has here.

Aumont tells Palmer he is leaving. Palmer sighs and tells him it is best he leave because the Police had searched the camp that morning. Aumont grabs the kid and smuggles him on board with some wine casks. He returns the truck to the merchant and starts back to the docks. Needless to say he does not make it.

Just outside the docks he sees Montez sitting in an expensive car. The car takes off before he can reach it. Does he get on the ship or go after his true love? He makes for the KIT-KAT where he finds Montez showing off her prize mark. Montez ignores Aumont when he approaches with a big grin on his face. "But it is me darling!" Spouts Aumont. "Who?" Is Montez's answer. Aumont is stunned.

Also in the club is Dalio who grabs a phone and drops dime to John Law on Aumont. One of the bartenders warns Aumont that Dalio had ratted on him. Aumont exits in a hurry just as the cops arrive. He waits in the dark outside of Montez's rooms for her return. Montez shows and Aumont forces his way in.

Aumont says. "How can you ignore me after you said you loved me? Don't you remember?" Montez laughs and responds. "I don't even recall your name!" Needless to say that was the wrong thing to say. Montez quickly finds hands tightening around her throat. Finished, Aumont lets her lifeless body slip to the floor. He then slowly walks out of the apartment and into the arms of the just arrived Police.

The rest of the cast includes, Pierre Bertin, Roger Blin, Gregoire Aslam, Jean Marie Simon and Lita Rico.

Montez was in "Tangier" and "Portrait of an Assassin". Dalio worked both sides of the Atlantic with bits in "Grand Illusion", "Shanghai Gesture", Casablanca", Pepe Le Moko", "To Have and Have Not", "Snowbound", Razzia Sur La Chnouf" and "Portrait of an Assassin".

The director was Francois Villers. The d of p was Jean Bourgoin. His work includes, "Maneges", Dedee d' Anvers" and "Mr Arkadin".

The story and screenplay was by Aumont and Michel Arnaud.

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Sounds good. A very good print is on youtube, though somehow some parts seems badly dubbed into English. I assume it is in French?

Jessica Rabbit
"I'm not bad. I'm just drawn that way."

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I have two diff prints, one in English and one with decent eng subs. Not sure about the you-tube one.

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IN THE HEAT OF THE NIGHT (1967)

- i didn't love it. the background score by quincy jones was great. great performance by ROD STEIGER. POITIER was a bit preachy. WARREN OATES in a supporting role. great atmosphere and loved the small town setting. loved the way the film looked, technicolor was great, i wonder why they did away with it. but it all felt a bit flimsy in the end. doesn't really work as a police procedural. the parts are better than the sum.

(7/10)

I get melancholy if I don't write. I need the company of people who don't exist

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A contract star at 20th Century Fox, Tyrone Power was tired of playing the swashbuckling, romantic lead. He had been a stage actor before going to Hollywood and wanted parts that would show that he was a serious actor doing meaningful films. He bought the rights to the pulp fiction novel Nightmare Alley and managed to get it produced as his follow up to The Razor's Edge, another film that was more in line with his ambitions.

Alley was not a low budget film, having top actors, a director with stage and writing experience, and one of the best cinematographers in the business, Lee Garmes. Garmes had worked with Joseph von Sternberg, photographing Marlene Dietrich in Morocco and Shanghai Express and his expressionist lighting techniques and camera work perfectly mirrored Alley’s bizarre and twisted plot and subject matter.

Power plays Stanton Carlisle, a carnival barker who uses his considerable charms with women to obtain the secret “code” to a mind reading act. He discards the woman who taught him the code, opting for a younger, better looking one for his new act, “The Great Stanton,” a mentalist who “reads” the minds of people in the audience. He soon meets the beautiful Dr. Lilith Ritter, a psychiatrist who records her sessions on tape, giving her a library of the deepest, darkest secrets of her patients. She finesses the charismatic, and by now famous, Stanton into a scheme using those secrets to extract money from her wealthy patients.

Stanton has successfully used two women on the way up but has met his match in the villainous Dr. Ritter. After she’s done using Stan his fall is quick and has no bottom. The startling transformation of the character is a brilliant piece of acting by Power who is unrecognizable in the last scene. Daryl Zanuck was shocked and worried what this film would do to his matinee idol star. The studio got nervous, underpublicized it and gave it only a very limited release. The film died, the rights went into a protracted legal fight, and was rarely seen until its release on DVD about ten years ago. Of course the film gained a cult status but is also considered to be one of Power’s best, if not the best, performance of his career.

No cops, gangsters or guns, Nightmare Alley is a noir deviant with a Twilight Zone feel about it and strong elements of horror. Highly recommended, this one is not for the faint of heart.

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Long time since I last caught this.

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Hi Gordon! thank you for the excellent review (which I've ticked) of this obscure French Noir.With your last obscure French Noir leading me to Dédée d'Anvers,I was wondering if you found Hans to be almost as good?

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I liked it. While not the beauty Dedee is, it is well worth a watch.

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