THE LAST HURRAH : Ten Greatest Film Noirs of the 20th Century and their best physical releases here in the 21st Century!

I have not put CASABLANCA or THIRD MAN on this list, because although they have noir elements, there is an A picture scope to them in terms of not just budget but aspiration, that transcends the conventions of the noir, they ultimately tell larger tales than the fall or redemption of a single man, which is the heart of the noir aesthetic.

With that caveat aside, onto the list.

1. MALTESE FALCON (1941)

2. DOUBLE INDEMNITY (1944)

I don’t love the cover art for the Eureka release of Billy Wilder’s DOUBLE INDEMNITY (I think they should have gone with the art used for DVD and other releases) , but the film itself is magnificent, one of the greatest film noirs of all time. And a very good Blu-ray release. It is currently the must own version of this film.

3. MURDER MY SWEET (1944)

4. KISS ME DEADLY (1955)

5 DEVIL IN A BLUE DRESS (1995)

Walter Mosley’s DEVIL IN A BLUE DRESS remains a watershed book, in many ways improving on the pulp noir and film noir roots laid by writers like Hammett And Chandler. As someone who has read the book, listened to the audio book, and seen the film, Director and Screenwriter Carl Franklin’s take on DEVIL IN A BLUE DRESS is just as watershed a film. With a stellar cast, the film is Noir distilled, while being one of the most beautiful color films, and is endlessly watchable and compelling. Indicator Films finally releases this film on Blu-ray, with Booklet and one newer special feature… a charming 2018 Interview– Carl Franklin: DANCING WITH THE DEVIL. That said I do wish they had sprung for new interviews and commentaries to go along with the ported features from the original 20 year old DVD; but that aside this is a must own limited-special edition release, that is  25 years in the making.

6. LADY FROM SHANGHAI (1947)

7. THE BIG HEAT (1953)

8. THE BIG SLEEP (1946)

9. I WAKE UP SCREAMING (1941)

While ostensibly 1941’s MALTESE FALCON is recognized as the first FILM NOIR, this film, I WAKE UP SCREAMING, made at the same time as MALTESE FALCON, actually is the first film to put together all the iconic elements we would later associate with film noir.

In addition to the Femme Fatale, and the morally challenged protagonist, this film adds the heavy use of shadows, the Venetian blinds, the stylish dutch and off-center shooting angles, in essence the visual language of film noir shows up first in this least heralded of films. And with a winding script that keeps you shifting your belief of “who done it” from one character to another, and some strange and compelling performances and laudable direction, you end up with a film that deserves to be better known.

 

10. RAW DEAL (1948)

Being the single best of Anthony Mann’s and John Alton’s magnificent collaborations makes RAW DEAL a must for any top ten list. This special edition, complete with booklet  is a must own release.

Well, that’s it my top 10 list.

2020 saw all ten of these films available on quality, feature rich Blu-Ray releases (eff barebone, questionable quality 4K releases — I despise the “no interior artwork, lacking new artwork” 4k releases. I also blame 4k for the further fragmentation and dwindling of a market, that can not survive anymore fragmentation. If you are going to do UHD releases, release them with the Blu-Ray and/or DVD in multi-packs. You eliminate having to have a DVD market and a Bluray Market and a UHD market, and the associated expenses of trying to package for 3 different formats ) for the first time in the relatively short history of physical media. And arguably by the end of 2021 these ten movies will never again all be available in quality, feature rich, physical media versions.

I hope that will not be the case, but hope for the best, but prepare for the worst.

If you want these films in physical media, pick all ten up today, while they are still in stock. Click the images to be taken to the movies in question.

If  you have enjoyed this post, then like, subscribe and come back for more of our coverage of physical media and the… Last Hurrah.

Currently Watching : Criterion Blu-Ray KISS ME DEADLY (1955) by Robert Aldrich

There are a lot of GREAT film Noirs. From John Huston’s anointed ground zero of Film noir, 1941’s MALTESE FALCON to the works of Billy Wilder (1944’s DoUBLE INDEMNITY),  Edward Dmytryk (1944’s MURDER MY SWEET). Howard Hawks (1946’s BIG SLEEP), Orson Welles (1947’s THE LADY FROM SHANGHAI), Anthony Mann/John Alton (1948’s RAW Deal), Joseph H. Lewis (1950’s GUN CRAZY),  Jules Dassin (1950’s NIGHT AND THE CITY), Richard Fleisher (1952’s THE NARROW MARGIN) to name just a few, There is perhaps no genre to in so brief a time, create such a wealth of iconic films, and galvanizing films.

Going on 80 years after some of these films were made, they are as crowd pleasing and watchable as ever. You can’t say the same for many of the A films, or serious films of the time, that tend to creak under the manners and etiquette and issues of the day—of a passed time. Whereas the genre films, particularly film noir, lived in this short-hand, heightened Americana of Extremes; of lust and betrayals and passions, that remain timeless and relatable and incendiary. Film Noirs, though of their time, lived in a world of light and shadows, that felt always ever present, and indeed almost prophetic… almost ahead of its time.

And perhaps no Film Noir highlights this as much, as Robert Aldrich’s 1955 masterpiece… KISS ME DEADLY. From the opening sequence, which remains one of the best opening sequences of any film, to the last scene of a world put on notice, Aldrich’s KISS ME DEADLY, in a genre that is style codified, stands out as the most stylish, and yet does so while also being one of the most substantive Film Noirs.

There is so much in this film, from how it is shot, to its location, to its soundtrack by the great Nat King Cole, to its performances led by the great Ralph Meeker, to its wealth of diversity, showcasing a city peopled with a diverse range of colors, and nationalities and ethnicity. People of color, with speaking parts, not shown as stereotypes but just as intriguing people, to the wealth of memorable female roles, to its brutality, to its depiction of its protagonist— that continues to make KISS ME DEADLY, unique.

Even in a genre of morally ambiguous anti-heroes that people Film Noir, Ralph Meeker’s Mike Hammer takes the cake. He is mercenary, brutal, sadistic, a user of women, he is a thug and a cad, but despite that, there is also something still magnetic about him, Ralph Meeker plays him in a way that I’m not sure any other actor could have quite pulled off, that makes you see him, as reflected nin the great performances of the four women that pine for his attention throughout the movie:  a cad yes, but a cad with something Quixote like somewhere beneath the smirk. That here at the end of the day, is a man who would if he could, fight dragons. This realization that despite MIke hammer’s failings, the things he fights against— are worse.

And something that is lost, even to ardent fans of this film, and because of just how much happens in every moment of this film, is everything that happens from the protagonist’s release from the hospital till the conclusion, happens in just four days. The amount of horror and blood and beatings and ultimately loss that happens, is a whirlwind, and becomes even more impressive when you take the time to realize this is a 96 hour period, from him getting out of the hospital till the end of the film.

Robert Aldrich made a lot of acclaimed films, this is without doubt my personal favorite of all his films. It is a masterpiece, full stop, owing its revolutionary plotline less to the source novel by Mickey Spillane, and by all reports (including the included 2011 alex Cox featurette) almost entirely to the groundbreaking changes and innovations introduced by screenwriter A.I. Bezzerides.

And Criterion has released this game changing film, in a definitive Blu-Ray presentation, from the mastering, to the extras, to the packaging and art design, it is a work of art, worthy of the film.

Yes you can purchase it on streaming. But for a few dollars more you can own it in a format, that does honor to your book shelf or media center, or living room.

Grade: A+. Highest Recommendation, for the movie and for the Blu-Ray.

And no, I won’t be upgrading this to 4K, or 8K, or 16K. I’ve got an up-scaling multi-region Blu-ray player, 20-20 vision, on a less than 65″ screen, this Blu-ray satisfies the needs of my TV, and of my eyesight. Beyond a certain point the search for more is a game of pixels and real estate, and moving the newest shiny model (to use car talk), and not quality.

Click the image below to get your copy, while still in stock.

DVD/Bluray Purchases for Week 1 of 2020!! Haul / Deals of the Week!

–See my previous post where I sing the praises of this film.

Film Noir fan, so this collection of little seen noirs was a must buy. Currently re-watching 1957’s riveting SHADOW ON THE WINDOW by director William Asher (who before he became known for his tv work and teen beach movies, made three notable films, JOHNNY COOL, THE 27TH DAY, and this one). SHADOW ON THE MOON is a thriller, with very ahead of its time sensibilities. One of the earliest films to deal with child trauma, broken homes, latchkey syndrome, and teen violence. It is a surprisingly good film. Unfortunately it is a pretty bare-bones Bluray collection; no commentaries, special features etc. Usually that is reason enough for me not to purchase physical media, however in this case you do get nine well mastered films per collection, for roughly the cost of one film. And the films look great. Purchase Here!

Bought this one, because it was described as a type of ode to THE WILD BUNCH, and it starred Woody Strode. I went for the DVD over the Blu-ray, because the Bluray offered nothing additional, arguably not even a better picture, and the DVD was half the price. Purchase Here.

THE LADY FROM SHANGHAI – An Orson Welles masterpiece, starring Orson Welles and his stunning wife Rita Hayworth, and made when their marriage was falling apart. And it is a testament to Welles as filmmaker, and both of them as actors, that none of that is in the film. Finally remasterd on Bluray and with special features and commentary, and it is dirt cheap. A no-brainer of a buy! One of Welles top 5 films, and from a filmmaker who made arguably nothing but great films, that is saying a lot. Purchase here.

I had never even heard of this movie before, but all the reviews were very strong for this 1945 film Noir imbued thriller. And being directed by the great Joseph H. Lewis  (of THE BIG COMBO fame), with a feature reach, remastered Arrow Video release made this the last of this installment’s must buy Dvds and Blurays. Purchase Here!

THE CINEMA OF STATUES : The Films of Rainer Werner Fassbinder

“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”

FOR THE REST OF HER LIFE by Cornell Woolrich

Have you ever watched a film, and mere moments into it been so captured by its construction, its strangeness, and its audacity that it earns a spot in your pantheon, your metaphoric showcase of worthy things? I’m guessing the answer for some of us is yes. I say some, because the strange, by its very nature, will not be the cup of tea of everyone.

MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.

And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.

I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.

Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.

Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.

I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)

Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.

But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.

In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.

WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.

The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.

It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.

And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.

The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.

Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.

Image courtesy of film.com

I can see people not liking or dismissing Fassbinder’s 3+ hour Sci-Fi epic as just flawed. And it is flawed, like I said previously, Fassbinder likes the mistakes, the mistakes of time, mistakes of gender, mistakes of intention, mistakes of moment, and out of all these mistakes with WORLD ON A WIRE he makes, at least for me, something composed of the old, that feels endlessly new.

Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.

The Fassbinder Collection Two – MARTHA

World on a Wire (The Criterion Collection) [Blu-ray]

Speak to Me of Death: The Selected Short Fiction of Cornell Woolrich, Volume 1 (Collected Short Fiction of Cornell Woolrich)

The Lost Men Series : Four GREAT films currently available on Streaming!

TOP 15 FAVORITE DVD Commentaries! Part 3 of 3!

Completing (Yay! Finally!!) the list of 15 favorite DVD commentaries!! Here are selections 11-15.

THE LION IN WINTER- A seminal film, the finest performances of all involved and commentary by the director, Anthony Harvey. The Lion in Winter

T-MEN/RAW DEAL- Not a commentary per se, the excellent 2 part DARK REFLECTIONS audio/video essay by mystery writer Max Allen Collins is a must listen as it examines two of the best films by the legendary team of director Anthony Mann and Director of Photography John Alton. Very, very informative covering film noir, Dick Tracy, Eisner’s Spirit and more.Anthony Mann Film Noir Double Feature: Raw Deal/T-Men

DESCENT- 2 director commentaries, one with cast, one with crew. The crew commentary is more than a bit bland, the cast commentary is definitely more lively with a bunch of giggling, possibly tipsy, actresses, and it takes a bit to determine who is who, but still an enjoyable insight into this fantastic film. The Descent (Original Unrated Widescreen Edition)

SEVEN- no less than 4 great commentaries to choose from! Seven (New Line Platinum Series)-this is the only version that has all four commentaries

KING OF NEW YORK- great commentary by maverick director Abel Ferrara.King of New York (Special Edition)

Well that’s it! The wrap up of the 15 Favorite Commentaries!! The links to previous sections are below, and feel free to suggest your own favorite commentary!

Thanks for viewing and if you like this post, take the time to give a ‘like’ and also take the time to purchase using the links provided.

Thanks!:)!

Here’s Part I!

Here’s Part II!

The Most Interesting Movies Spring 2012 April Update!

What strikes me, in looking at the upcoming movies for the rest of the Spring is there is a shocking lack of films that are not stupid mean-spirited comedies or stupid mean-spirited 'thrillers'. There is also a staggering lack of diversity, as with the exception of Samuel Jackson, and one Blair Underwood film, you can pretty much slap the label "All White" on every single film coming out this spring and be not far wrong.

Films or television shows that recall the 70s where you could have numerous characters of color in significant roles (that's key) both in front of and behind the camera are few and far between.

That said, movies with characters of Color in lead roles, not just as tokens or secondary characters, get made all the time, both domestic and foreign.

You can see them at the film festivals. Unfortunately they just don't get picked up for distribution.

Brilliant ones such as the Cuban made EL BENNY, which is one of my favorite films of the last ten years. And the fact that most of you have never even heard of it, much less seen it says volumes about everything that is wrong about America's monopolized and color conscious theatrical and DVD distribution system. "Oh this film has more than two people of color and it's not a comedy or a 'mama drama'? Nah, we're not distributing that movie."

Of course not. That would take away theater space from films such as the umpteenth AMERICAN PIE idiocy. 🙂

So if that's what I'm not looking forward to, you may ask "what, that is making it to theaters, looks interesting?"

Good question.

Answer: a few look intriguing. Not necessarily good, but perhaps because of Director or Star or in the case of KEYHOLE premise… at least interesting.

Here are the posters of ones I'll be keeping an eye out for this Spring:

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KEYHOLE- Genres: Drama Thriller Language: English, French
Synopsis: After a long absence, gangster and father Ulysses Pick (Jason Patric) arrives home to a house haunted with memories, towing the body of a teenaged girl and a bound and gagged young man. His gang waits inside his house, having shot their way past police. There is friction in the ranks. Ulysses, however, is focused on one thing: journeying through the house, room by room, and reaching his wife Hyacinth (Isabella Rossellini) in her bedroom upstairs. The equilibrium of the house has been disturbed and his odyssey eventually becomes an emotional tour, as the ghostly nooks and crannies of the house reveal more about the mysterious Pick family.
Haven’t seen a trailer yet, but the description/premise intrigues me. Seems a bit experimental and potentially original.

THE CABIN IN THE WOODS- Written and produced by Joss Whedon, this film looks to be a genre bending flick from what little I know of it. Count me interested enough to find out for myself.

SAMARITAN- This looks like a nice little crime thriller, but the trailer gives away pretty much the entire film. But that aside I’m still interested in seeing it. I would just urge people to avoid the trailer.

If you think I missed a film worth seeing this spring, feel free to put in your two cents. But I don’t think I missed any. :).

DVD Review & Contest: THE WHISPERER IN DARKNESS by H.P. Lovecraft

I do find it amazing how much and how quickly you can write, when on an Absinthe/Peyote high.

Hmmm.

Interesting.

Anyhow, onto the blog post, speaking of mind altering experiences…

I put a lot of work into these blog posts, and whether you agree or disagree with what is said, you can come here day in and day out, and know this is a man who will chew his veins open, in an attempt to say it well.

I strive for that type of ethic in myself, and I appreciate that kind of dedication in others. And this post is about a whole group of such people.

The good folks at the H.P. Lovecraft Historical Society were kind enough to send me a screening copy of their film THE WHISPERER IN DARKNESS, the second in their feature length HP Lovecraft films (The first being a 72 minute film, done in the style of the Silents, called The Call of Cthulhu: The Celebrated Story by H.P. Lovecraft).

The Whisperer in Darkness DVD

The Call of Cthulhu: The Celebrated Story by H.P. Lovecraft DVD

Going into the story, while familiar with quite a few Lovecraft stories (some I like, some I don’t), I was unfamiliar with THE WHISPERER IN DARKNESS. So beyond knowing the standard Lovecraft constants of Miskatonic University, a creeping darkness from beyond, and a penchant for New England and florid language, I was a blank slate.

A dynamic opening shot, very much crafted in the style of the period, manages to set the tone of the film. Something that is not a homage, but rather a wonderful invocation of early 20th century film language.

As a fan of German Expressionism and Film Noir, the deep focus, and lush B&W photography, and consuming shadows and sharp angles they utilize to tell this period tale, very much play to my personal preferences, and I would think the the preferences of any who bring an appreciation of Universal Films or even Hammer Films (they made some very compelling B&W films) to the table.

But the look of a film will only take you so far, if you don’t have a strong protagonist and a strong actor to helm your film.

In Matt Foyer’s Albert Wilmarth, this film has both.

Matt Foyer’s performance is excellent. All the more so because he takes a character type that we are all familiar with from legions of horror films and books, namely the disbelieving and infuriating skeptic (who blithely saunters into a danger that the audience of course sees coming), and makes of a caricature something with character.

So the strength of Foyer’s performance, complemented by the writing, is that his Albert Wilmarth doesn’t come across as a fool, or an obtuse, to the point of stupidity, skeptic. His Wilmarth comes across as a sympathetic character, who believes in an orderly world, a rational world.

And we journey with him, as slowly those worthy beliefs… begin to crumble.

There’s something quite likable and endearing about Matt Foyer throughout. It’s a performance you’d be hard pressed to find in a film with ten times the budget. and the whole cast gives such compelling performances.

Among them Stephen Blackehart as the ever smiling Charlie Tower and Daniel Kaemon as the sardonic P.F. Noyes.

This is Kaemon’s first feature film, it will definitely not be his last.

And you can just go up and down the credits and everywhere you stop you’re going to find an actor who gave a great performance in this film, from Barry Lynch as the chuckling Henry Akeley, Matt Lagan as Nathaniel Ward (a friend, the voice of caution, who has been to the abyss… and endured) and impressive young newcomer Autumn Wendel as Hannah Masterson, It’s the kind of film actors are proud to have on their cv, one rich in performances and chances… to act.

And the crew is every bit as talented as the cast.

Beautifully shot film, smartly written (and I’ll come back to that in a minute), impressively scored by Troy Sterling Nies (I like how the percussion at times rolls up on you), for the most part well paced (it does begin to feel a bit long in the 2nd act, but stick with it, as the film kicks in the burners with the third act), and excellently directed by Sean Branney.

The special effects are used sparsely and effectively, particularly given the budgetary constraints. Most of the effects are designed not to call attention to themselves, and work very well. There’s some CGI that rears its head pretty massively in the third act, that can’t help but call attention to itself… but by that point I didn’t mind it.

By that time you are either with the story or you are not, and I was with it and quite enjoying myself.

Now in the interest of full disclosure, I must say that I was on the fence with the film, during the 2nd act (almost completely set in the house). during that juncture the film began to feel… long.

But the third act kicks in, and it’s all quite engrossing till the end. The final act making the film for me, all in all… creating a film that not only am I happy to have seen, but very happy to recommend.

And if, like me, you enjoy making of featurettes and behind the scenes segments then splurge and get the Deluxe Two-DVD Set. I am a huge special features fan, for me a movie worth owning is a movie worth watching again, and one you want to listen to commentary about.

THE WHISPERER IN DARKNESS is that kind of film.

The second disk in the deluxe set also sports a couple easter eggs, appropriate considering when I’m posting this. One easter egg involves a rabbit, or maybe it’s a guinea pig, some kind of furry creature. 🙂 Then there’s one ‘after wrap’ easter egg scene, and of course numerous extras. As a package, it’s informative and fun.

Also, I’ve never seen a film with this many subtitle options. If you want to learn 23 different languages get this DVD. 🙂 (but No Amharic? No Swahili?)

And one comment regarding THE WHISPERER IN DARKNESS film versus HP Lovecraft’s THE WHISPERER IN DARKNESS short story: There are MAJOR differences.

I picked up an audio reading of the story after watching the film, and at the risk of annoying Lovecraft fanatics everywhere, while Lovecraft’s original is a richly detailed story, I don’t think it is a good story.

The Whisperer in Darkness: Collected Short Stories Vol I (Tales of Mystery & the Supernatural) (v. 1)

Yep, I said it.

Bring it.

BRING IT!

Fools will have me uppercutting you around here! 🙂

But seriously, I was underwhelmed by the original story. and I think the filmmakers’ changes (addition of characters, creations of scenes, adding a third act) turned an aloof stream of consciousness vignette into a dramatic full featured story. The film took four years to complete, three of those years being the two writers working on the script. My humble opinion, that time and effort paid off.

Lovecraftian purists may disagree. However considering this film was made by the HP Lovecraft Historical Society I don’t really see anyone being more of a purist than these guys.

So Final Verdict, on a scale of: ‘avoid’, ‘catch it on tv maybe’, ‘rent or stream it’, or ‘Buy the DVD’. My vote is Buy It. It’s one you’ll revisit. Grade: B+.

And putting my money where my mouth is, the 15th person to leave a comment saying “This sounds great! Thank you HT and The H.P. Lovecraft Historical Society! I want a copy!” wins a copy of the DVD.

Yep, I said it.

Leave a comment, be the 15th person, win a DVD.

I won’t post any of those comments, I approve all comments so nothing gets posted automatically, they come direct to me. The 15th post (only one post per person is counted so no multi posting) wins the DVD. Include your email address when you leave your comment so I can notify you if you win.

Cool?

Cool!

Now get out of here and hug somebody! Did I tell you your Momma dresses you funny?!!

Well now you know. 🙂 .

Oh, I’m kidding! I love you gals and guys!!

—-HT

Oh, and one more thing before you leave. Just, uhh… turn off those lights.

Yes, yes like that.

Now follow my voice,

yes…

yes…

come closer. closer….

closer. I want you here,

that’s it

beside me,

in the darkness…

so that I may…

Whisper to you.

(Man, I just creeped my own self out. :))

THE WELL DvD Review! and boycotting KFC and TACO BELL!

THE WELL- Gripping, tense, powerful, exhilarating, and even surprising are all words that can be leveled at this unfortunately virtually unknown film, released in 1951 to general acclaim.

While film classes teach of Fritz Lang’s FURY and William Wellman’s THE OX-BOW INCIDENT, the film THE WELL by co-directors (and co-writers) Leo C. Popkin and Russell Rouse (of DOA fame) doesn’t even register on the radar of most (even classic) movie fans, which is a shame, because it’s every bit as good as those heralded classics.

It’s filmed in a wonderful experimental manner that veers from cinema verite to stylish crane shots, and filled with engaging performances by both seasoned and first time actors. And another strength is its large cast filled with many fine actors of color, in non-stereotypical roles, something rare in the 1950s, and unfortunately and shamefully, only more rare in 2011.

But thankfully through the magic of DVD, a new generation gets to view this exemplary film, which is beyond its fiction, a great historical record, snapshot, of the times and the tempests of an America of over 60 years ago. A great portrait of the things we’ve gained and the things we’ve lost in the fire, in those 60 years from then to now.

It’s a great film about mob rule, and how thin the veneer of civilization is, and touches on topics of bigotry, perversion, sex crimes, suspicion, violence, and the loss of reason… and the finding of it.

It would unfortunately be Leo C. Popkin’s last film as Director, but what a one to end on.

A great movie that everyone should have in their collection. Grade: B+.

Buy your copy here: The Well

This review is brought to you by the boycott KFC (KENTUCKY FRIED CHICKEN)/TACO BELL campaign.

The food chain company has its corporate headquarters in an aggressively maintained, completely segregated town. And considering the bulk of their revenue comes from people of color, that’s just not kosher.

So do your part and spread the word, and boycott KFC and TACO BELL. I know there are times when you’re on the road and they may be the only game in town, so of course do what you have to do. But make that the exception and not the rule. The rules should be to avoid doing business with companies that denigrate you.

To avoid doing business with companies that have not learned the lesson… of the Well.

DEAL OF THE DAY: THE WORLD, THE FLESH, THE DEVIL DvD!

And all I ever wanted
was the dreams that they dream
And all I ever wanted
was the seems that they seem
was the seems that they seem
— copyright 2011 HT

There’s a great article at DVD Savant (I know, shocking!) on the future of DVD, with the gist of it being streaming and downloads and burn on demand are all the rage, and the quality DVD ever more marginalized. I think you the reader, know where I stand on that.

Just like with books, I prefer having the physical item on my shelf. In the case of DVDs, in handy, attractive… cases. I like reading the liner notes or booklet, and getting the special features, and listening to the directors commentary, all things the Attention Deficit Disorder inclined streaming market or burn on demand market, really doesn’t care about.

I do however.

I care about the process. And my buying habit and recommendations reflect this. Without further ado… today’s recommended deal:

My preference for full featured titles aside, one studio Burn on Demand title you would be a FOOL to pass up (a FOOL I say) is the little seen Harry Belafonte helmed 1959 post apocalyptic film THE WORLD,THE FLESH,THE DEVIL available finally in all it’s beautiful wide-screen B&W glory.

My God this is a fantastic film. Liberally borrowed from by various films, and filmmakers, there’s a burning center to this film, a wonderful parable of the end of the world… and possibly the beginning. In a decade where cops were siccing dogs and firehoses on people of color, it’s really impressive, smart, passionate and lovely filmmaking. Ahead of its time for 1959, and given the sorry state of cinema and humanity in 2011 it remains… ahead of its time. Being unusually smart, adept and engaging filmmaking, and also wonderfully acted and gorgeously filmed.

It looks… stunning.

And discussing the DVD itself… It’s not cheap, For what amounts to a barebones DVD, it’s costly. I think BOD (Burn on Demand) films should be priced at $10, but for this film, it is worth getting gouged a bit. I mean it’s effing Harry Belafonte!! The dean of cool! The man told Colin Powell where to go!! And the film…is an unjustly neglected masterpiece. And a wonderful ending. A-.

Highly Recommended!

Click on the below link for current prices:
The World, the Flesh and the Devil