Dark Passage

Genre: crime drama (in black and white)

With: Humphrey Bogart (Vincent Parry), Lauren Bacall (Irene Jansen), Bruce Bennett (Bob), Agnes Moorehead (Madge Rapf), Tom D'Andrea (Sam, the cab driver), Rory Mallinson (George Fellsinger), Houseley Stevenson (Coley), Clifton Young (Baker), Douglas Kennedy (Detective)

Director: Delmer Daves

Screenplay: Delmer Daves (based on the novel by David Goodis)

Release: 1947

Studio: Warner Bros. (as Warner Bros.-First National Pictures)

Rating: PG

MBiS score: 8.5/10

 

 

A Film Noir Double Bill –

At Face Value

 

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Story-line: freshly escaped from San Quentin, Vincent Parry has plenty to worry about. For one thing, he’s not sure he can trust the girl who picked him up on the road and is taking him to San Francisco. For another, he’s a shoo-in to get caught because he’s one of those guys who hasn’t got “a chance in this world”. What’s a fugitive to do, especially one who claims he’s innocent?

Pluses: top-level acting from Humphrey Bogart (in a dry and sombre role), Lauren Bacall (showing coldness but also restrained passion), Bruce Bennett and Agnes Moorehead, vigorous and inventive direction, a tight, logical and complicated screenplay featuring a close-knit circle of characters and remarkably brisk dialogues, irreproachable production values, an ominous musical score and a memorable ending.

Minuses: none really.

Comments: Encyclopaedia Britannica online defines “film noir” as a “style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post-World War II era.” A brilliant definition... and one that cleverly explains what DARK PASSAGE is all about. Vincent Parry faces danger everywhere he goes, cops and baddies are always on his trail and trust is something he can’t extend too liberally. All this adds up to a genuinely riveting drama, a quintessential film noir... and a fine addition to your movie repertory. 

 

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 Kiss Me Deadly

Genre: suspense (in black and white) 

With: Ralph Meeker (Mike Hammer), Maxine Cooper (Velda Wickman), Wesley Addy (Lt. Pat Murphy), Paul Stewart (Carl Evello), Juano Hernandez (Eddie Yeager), Marian Carr (Friday), Albert Dekker (Soberin), Fortunio Bonanova (Carmen Trivago), Cloris Leachman (Christina Bailey), Gaby Rodgers (Lily)

Director: Robert Aldrich

Screenplay: A.I. Bezzerides (from a novel by Mickey Spillane)

Release: 1955

Studio: Parklane Pictures

Rating: NR

MBiS score: 8.6/10

 

 A Film Noir Double Bill –

‟Kiss me. The liar's kiss that says I love you, and means something else.”

 

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Story-line: when detective Mike Hammer picks up a barefooted blonde one night in the middle of nowhere, he senses that something’s up. Even more so when she tells him she’s ‟a loony from the laughing house. Loonies are dangerous.”   

Pluses: tone-perfect acting by Ralph Meeker and an utterly believable cast, fluid direction, a complicated and absorbing screenplay saturated with sinister-looking characters, sardonic dialogues and surprisingly heavy drama, an effective musical score, amazing costumes and sets (dig that telephone answering machine!), pretty (and sometimes slanted) cinematography, skilful editing and fine production values.

Minuses: none really… except that nobody’s legit in this stunning movie.

Comments: this gem of a film noir is mysterious, entertaining and ultimately very powerful. Like Hammer himself, you won’t figure things out until you’re in deep, deep trouble. With its tense and tragic tale that delivers a knockout ending, KISS ME DEADLY doesn’t disappoint… and you’ll have to trust me on that.

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Mon oncle d’Amérique

Genre: behavioural docufiction

With: Gérard Depardieu (René Ragueneau), Nicole Garcia (Janine Garnier), Roger-Pierre (Jean Le Gall), Nelly Borgeaud (Arlette Le Gall), Pierre Arditi (Zambeaux), Gérard Darrieu (Léon Veestrate), Philippe Laudenbach (Michel Aubert), Marie Dubois (Thérèse Ragueneau), Henri Laborit (himself)

Director: Alain Resnais

Screenplay: Jean Gruault (based on Henri Laborit’s scientific work)

Release: 1980

Studio: Philippe Dussart, Andrea Films, TF1

Rating: U

MBiS score: 8.9/10

 

 

‟Animals – and men for that matter – are endowed with four instincts: survival, flight, struggle and inhibition.”

 

 

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Story-line: MON ONCLE D’AMÉRIQUE illustrates Henri Laborit’s behavioural theories by applying them to three fictional characters: (1) Jean Le Gall. a teacher, civil servant, broadcasting executive and controversial writer, (2) Janine Garnier, a fashion stylist and stage actress involved with a married man, and (3) René Ragueneau, a country boy who has worked his way up to a managerial position in the textile industry. Their common trait? They are all driven, ambitious individuals who want to live life to the fullest.  

Pluses: impressive performances by well-known thespians, a serious, detailed and perfectly logical screenplay that ingeniously uses old movie snippets to buttress each character’s motivations, fine direction and editing, plain-Jane photography, adequate production values and a lovely, efficient musical score by Arié Dzierlatka.

Minuses: the first act (25 minutes or so) may feel dry and didactic but the story itself becomes amply relevant once its theoretical foundations have been laid.  

Comments: MON ONCLE D’AMÉRIQUE - an original, enriching and expertly crafted hybrid film - is an invaluable record of Henri Laborit’s genius and a clear-headed demonstration of basic behavioural concepts. According to the Petit Robert dictionary, the French expression ‟mon oncle d’Amérique” refers to an imaginary relative who dies abroad and unexpectedly leaves you a fortune, a pipe dream really, sort of like ‟if I ever win the lottery…” As for the film’s conclusions about the human condition, I’m sure you will find them eye-opening but also horrifying. In spite of his vast knowledge, man still has plenty to learn…   

 

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 Business of Strangers (The)

 

Genre: psychological drama

With: Stockard Channing (Julie Styron), Julia Stiles (Paula Murphy), Fred Weller (Nick Harris), Mary Testa (the receptionist), Jack Hallet (Mr. Fostwick), Marcus Giamatti (Robert)

Director: Patrick Stettner

Screenplay: Patrick Stettner

Release: 2001

Studio: Headquarters Post, i5 Films

Rating: 14A

MBiS score: 7.5/10

 

Come Up for Your Comeuppance

 

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Story-line: Julie Styron, a mid-level employee for a tech firm, is trapped in a nightmare. Having just arrived in some city for a meeting with prospective clients, she learns that her boss is flying over to join her. Assuming she’ll be sacked, she contacts a recruiter right away to find a new job. Then, at the meeting itself, she realizes that Paula Murphy, who was due to assist her with her presentation, hasn’t shown up yet.    

Pluses: fine performances, notably by the very talented Stockard Channing (boy, can she deliver a good slap!), an original screenplay dealing with modern work, ambition, stress and sexual politics, capable direction and adequate production values.

Minuses: none I can think of. Some reviewers have criticized this film as less daring than IN THE COMPANY OF MEN but I won’t go any further since I haven’t seen both movies.   

Comments: it’s a bit difficult to explain what THE BUSINESS OF STRANGERS really is without revealing too much of the plot. Story-wise, it’s a small-scale but tricky film à la David Mamet; it follows one tangent and, once you’ve found your groove, it veers off on another tangent and traps you with unexpected twists. I will admit it’s no masterpiece… but it doesn’t pretend to be one either. Kudos to Patrick Stettner and crew for this fresh, interesting and competent picture about real people with real problems.

 

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