Blackout Noir: Guilty Bystander (1950)

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My ambition often far exceeds my abilities. Inevitably, whenever Noirvember rolls around, I get excited and watch numerous noirs in the first week or so of the month. I’ll happily write a few reviews, but then life gets in the way. I have other official things to write, or I get stressed out over some work thing, or I’m just tired. I’m tired all the time these days. The days roll by, and I put off writing more noir reviews, and after a while I need something non-noir to watch. Then all of a sudden the month is over, and I’ve not written or watched nearly as many noirs as I wanted.

This month I thought it would be fun to write a whole series of reviews covering the Criterion Channel’s collection of Blackout Noirs. I got really excited about that and watched several of them. I wrote some of the reviews, and then that fatigue kicked in and I got distracted, and here I am trying to write something about Guilty Bystander, a movie I watched a week and a half ago. 

So, you’ll have to forgive me if this review is a little light on the details.  My memory has faded on some of the specifics of this particular film.

I can say that Guilty Bystander was made in 1950 and was directed by Joseph Lerner. It was made on a shoestring budget. According to noir aficionado Eddie Mueller, the filmmakers couldn’t afford to purchase the requisite filming permit to shoot in New York, so they often shot incognito or bribed police officers to look the other way.

This imbues the film with a real on-the-streets quality. And if you want to know what the seedier sides of New York City looked like in 1950, this film is for you.

Zachary Scott stars as Max Thursday, an alcoholic ex-cop who is living in a flophouse, working as the house detective. One night his ex-wife Georgia (Faye Emerson) comes to him in a panic. Their son Jeff and her brother Fred have gone missing. Georgia’s friend Dr. Elder (Jed Prouty) has advised her not to talk to the police just in case this is a case of kidnapping. 

A drunk Max visits Dr. Elder and gets into a fight with him. The good doctor knocks him unconscious, and Max awakes to find himself in police custody because Elder has found himself dead and Max now finds himself suspect #1.

Georgia gives him an alibi, and Max is on the hunt. The plot is standard noir stuff, and the film mostly plods along. I’ve liked Zachary Scott in the films I’ve seen him in, and he’s pretty good here. The script doesn’t do him any favors, but Joseph Lerner’s direction is on point, and the on location stuff is good. There is a scene in a subway tunnel that’s thrilling (and makes one wonder if they actually got permission to shoot down there).  

It is a film worth seeing if you are a noir fan, all others should not apply.

A Better Tomorrow Trilogy is the Pick of the Week

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It is time again for me to talk about all the cool new Blu-ray/UHD releases coming out this week. This week’s pick is a trilogy of films that essentially launched John Woo’s career and created en entire new genre (gun fu). There are lots of other things coming out this week including Howard’s End, a new Ken Burns documentary, a couple of Criterion releases and more.

You can read all about it over at Cinema Sentries.

Indiscretion of An American Wife (1953)

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When I was 13 or 14, maybe, my mother took me and my sister to Orlando, Florida. My brother was graduating from Naval bootcamp, and we decided to make a vacation of it. We visited SeaWorld and Universal Studios and a few other touristy places (though oddly enough we did not go to Disney World). It was the first time I’d ever taken a vacation like that. It was amazing. 

The thing about amusement parks is that you wind up waiting in line for most of your time there. I know Disney and probably the other parks have ways around the long lines now, but back then you just waited.  The lines wrapped back and forth around each other, so you wound up zigzagging between different groups of people. As the lines took over an hour to get you to your destination, you could get to where you felt you knew the people you kept crossing around.

You’d cross paths with the same people over and over again. You’d smile at them and make small talk. You’d complain about the long line. Sometimes you’d run into those same people at other rides. It was the first time in my life that I’d realized the world was filled with so many people. People with their own lives. Their own hopes and dreams. These were people I’d never see again in my life, but their lives would continue.  It was a strange enlightenment.

Indiscretion of an American Wife is a bit like that. Or that’s what it was originally meant to be. Director Vittorio De Sica imagined a movie about the various lives that briefly crossed paths at a train station. American producers mucked that concept up a great deal, instead making it concentrate on one love story, but you can find bits of the original concept in there if you look. 

Anyway, that’s a long introduction to my review of the Blu-ray of that film. You can read even more thoughts over at Cinema Sentries.

Blackout Noir: Blackout (1957)

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A broke and down American, Casey Morrow (Dane Clark), is quietly getting drunk by himself. He’s approached by a beautiful heiress named Phyllis Brunner (Belinda Lee). She says she’ll pay him $500 to marry her. A smart man would immediately think something is fishy, but film noirs aren’t filled with smart men. He accepts, and she plies him with more drinks. He awakes the next morning in a strange apartment owned by Maggie Doone (Eleanor Summerfield). She says she found him last night stumbling about, dead drunk, so she took him in and let him crash. She’s an artist and has a painting of Phyllis on an easel.

They are alerted by the newspapers that Phyllis’ father was brutally murdered last night with a fireplace poker. Casey finds blood on his coat. He has no memory of what happened to him after Phyllis made her offer and gave him some more drinks.

Blackout (also known as Murder By Proxy) is a tidy little British b-noir, directed by Hammer stalwart Terrence Fisher.

The police will naturally suspect Casey, as Mr. Brunner was quite rich, and as he’s now married to Brunner’s only child, he’ll take control of the estate. The police will never believe Casey’s story of how Phyllis propositioned him on her own, so naturally, he takes it upon himself to try and find out what really happened.

It is here that what starts out as a rather excellent film turns a little more pedestrian. Casey will track people down and ask a lot of questions and get far too many easy answers. Because this is a film noir, we know that Phyllis has something to do with it. He’ll figure that out too, but also because this is a noir, he’ll keep falling for her act. Guys in noirs always get suckered in by a beautiful dame. It is such a shame too because Maggie is clearly the better woman, and she falls in love with him the moment she takes him in that first night.

The detective work never quite thrills or travels down new paths for this sort of thing, but it is still quite entertaining. I am reminded of Terrence Fisher’s work in numerous Hammer Horror films. Those weren’t typically great, but they were sturdily made and enjoyable enough. So it is here. It is a very good film. It doesn’t quite reach great status, but if you are a fan of film noir, I wouldn’t miss it.

The Friday Night Horror Movie: Demon Knight (1995)

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When I was in college, I went to the movies pretty much every weekend. Sometimes two or three times. I saw absolutely everything that I had even the slightest amount of interest in. I probably did have interest in Demon Knight when it came out, as I liked horror comedies. But I honestly don’t remember. What I do remember is watching it in the theater and absolutely loving it. 

Demon Knight is branded as a Tales From the Crypt story. Tales From the Crypt originated as an anthology horror comic in the 1950s and was hosted by the Crypt-Keeper, a wise-cracking corpse. It has been revised in various formats over the years, including an HBO series that lasted from 1989 to 1996. I’d never read any of those comics, and I don’t think I’d watched any of the HBO episodes, but the Crypt-Keeper would pop up in commercials and things, so I was definitely familiar with the brand.

Demon Knight was successful enough that they commissioned a sequel, Bordello of Blood, which came out a year later. I hated that film. So much so that it completely turned me off the whole Tales From the Crypt thing, and I never watched anything from them again. I never even came back to Demon Knight. So I haven’t seen it in 30 years.

It is one of those films I’d periodically think about, and I’d think I should revisit it, but for whatever reason I never did. It seems to be a movie that’s more or less been forgotten by the culture. I never see anyone talking about it. There are lots of other movies like this – some I did watch when they came out, some I didn’t – that get brought up periodically in online discussions. Those I usually seek out and watch again. But the lack of discussion about this one meant that anytime it would pop into my mind, it usually popped right back out again.

I cut the cord years and years ago. I own a lot of DVDs, but I do subscribe to various streaming services. I’m one of those people who subscribes to one service for a month or two, and then I’ll cancel it so I can subscribe to something else. I figure there is only so much stuff you can watch in any given month, so why spend all your money subscribing to every service?

A couple of months ago, Starz had one of those super deals where you could subscribe to an entire year for like $20. I’ve subscribed to Starz before and remembered it being okay, so I signed up. Tonight is the first time I’ve actually watched anything on their service since I subscribed. Most of the stuff they have is of no interest to me, and the stuff I am interested in I’ve already seen and own on DVD.

But while looking for a horror movie to watch, I found this and decided to finally give it another go. Actually, what I really did was watch The Mothman Prophesies on Starz, the Richard Gere flick from 2002, but it was so god-awful I decided I didn’t want to write about it for my Friday Night Horror Movie, and I dug around Starz some more and found this.

For the first ten minutes or so I wished I hadn’t. This was not what I was wanting; my fears that it would not live up to my memories were coming true. But then I was able to click my brain off. I was able to enjoy the film for what it was actually doing, not what I wanted it to do.

What it does is create an incredibly goofy, violent, goopy, and funny little horror story with lots of comedic elements and some pretty good practical effects.  Billy Zane is having the time of his life, too.

Zane plays a demon called The Collector, who is after a guy named Frank Brayker (William Sadler). Brayker has a powerful artifact known as the key, which the demons need to take over the world, but which also contains some of Christ’s blood, which can kill the demons. 

Brayker holes up in an old mission turned hotel, and the film becomes a base-under-siege story. Also in the hotel are an assortment of people, including the sassy owner (CCH Pounder), an old man (Dick Miller), an ex-con (Jada Pinkett Smith), an asshole (Thomas Haden Church), and others.

The film doesn’t do anything particularly new with the concept. There is lots of infighting, attempts to sneak away, and a traitor, but it does it with gusto and a real sense of fun. I remember when I first watched it, one of the joys was watching Thomas Haden Church play a character completely different from the good natured goof he played on the TV show Wings. Here he cusses, drinks, and has a prostitute attach battery clamps to his nipples!

The demon designs are good, and it is a real treat to see how many practical effects they used. CGI was just getting started at this point, and there is some use of it here, but mostly the demons are made of real stuff, and the gore is visceral (and the blood was made out of glow stick juice!). 

This is a film that understands it isn’t going to win awards. The Oscars will not be calling. But it does what it does well and has a blast doing it. I had a lot of fun watching it, too.

The Last of Us: The Complete Second Season 4K UHD Review

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The other day I was flipping through our streaming services, and I came across The Last of Us. I turned to my wife and said something along the lines of, “Did we ever finish Season 2?” She said, “No” but then thought that maybe I had watched it on my own.

I literally couldn’t remember if I’d watched it or not. I knew I had watched and reviewed Season One and that we had started watching Season Two, but in my memory we stopped it after a major (and intense) plot point happened. 

Friends, I did in fact finish the season by myself, and I did in fact write a review. One should not think this reflects on the quality of Season Two, as it is excellent, but rather on my incredibly bad memory.  Maybe I should see someone about that.

Anyway, you can read my review here.

Peking Opera Blues (1984) 4K UHD Review

peking opera blues

I’m a growing enthusiast of Hong Kong cinema. I love the Shaw Brothers and kung fu movies, of course, and I dig me some John Woo, but I’ve never dug all that deep into it. So I was delighted to get a copy of Peking Opera Blues. It feels like a perfect example of what HK Cinema is – weird, hilarious, and action packed. You can read my full review here.

Airport, Airport 1975, Airport ’77, and The Concorde…Airport ’79 4K UHD Reviews

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I have become a big fan of 1970s disaster movies. There is just something wonderful about a great big cast full of classic movie stars and up-and-comers all facing off against some ridiculous disaster. Airport (1970) essentially launched that genre and created most of its tropes. They released three more Airport movies, all of which had very little to do with each other, and were sometimes only barely connected to an actual airport but did all star George Kennedy as Joe Patroni, a mechanic/pilot/administrator.  Kino Lorber recently released them all in 4K, and I reviewed them for Cinema Sentries.  They have now released a boxed set of all four, but I got them individually.

You can read them in order here:
Airport (1970)
Airport 1975 (1975)
Airport ’77 (1977)
The Concorde…Airport ’79 (1979)

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Body Puzzle (1992) Blu-ray Review

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Lamberto Bava was the son of Mario Bava. Mario Bava was one of the great Italian directors of the 1960s and 1970s. A former cinematographer, Mario Bava’s films are gorgeous, often filled with bright, bold colors and fantastic camera placements.  Lamberto wasn’t nearly as good, but he still made some fun films.  

Body Puzzle isn’t great, but it has a great idea. A serial killer is collecting various parts of his victims to create…well, I won’t spoil anything, but it’s a fun concept that’s a little clunky in its execution.  You can read my full review at Cinema Sentries.

Five Cool Things and Jeff Tweedy Live

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Hello friends. I’ve got another Five Cool Things up over at Cinema Sentries. This time I’m talking about Bright Rock by Graham Greene, Donna Jean Godchaux, Norah Jones playing with Jason Isbell, the new FX series The Lowdown, Predator Badlands and a Jeff Tweedy concert. Click here to read all about it.