Funeral Tango: International Film Noir at the Roxie Theater

March 17, 2015 at 5:01 am Leave a comment

Don't mess, Intimidation, 1960

Don’t mess, Intimidation, 1960

Starting this Thursday, the Roxie plays host to A Rare Noir Is Good To Find: International Film Noir 1949-74, the followup series to last fall’s wildly popular noir showcase, The French Had A Name For It, which sold out most of its shows in its week-long run of classic French crime movies. The team behind that blockbuster event, former Roxie programmer Elliot Lavine and Midcentury Productions’ Don Malcolm, have put together another great calendar of notable noir, this time from around the world. Included in the program are fifteen films from ten different countries including France, Japan, Finland, Hong Kong, Denmark, Mexico, Greece, South Korea, Brazil, and Poland.

Guns, gams, and gals, Underworld Beauty, 1958

Guns, gams, and gals, Underworld Beauty, 1958

Screening in a triple-bill matinee on Saturday are three films from Japan that exemplify Japanese cinema’s effortless mastery of noir. Underworld Beauty (1958), by legendary director Seijin Suzuki, involves a bunch of guns, a fistful of stolen diamonds, a feisty gal named Akiko and an honorable ex-con, yakuza, double-crossing, shivs, and wild lindy hops, all presented in Suzuki’s garish and exhilarating style.

A friendly game of cards, Pale Flower, 1964

The second film of the trio, Pale Flower (1964, dir. Masahiro Shinoda), is a bleak little tale of gangsters, gambling, drugs, and a mysterious woman named Saeko who hangs out at a flower-card den and gets involved with the recently released prisoner Muraki, who’s just finished serving time for a gangland hit. Shot mostly at night and populated by junkies, yakuza, and gamblers, the film is a classic noir tale of desperation, addition, and fatalistic longing.

Rounding out the threesome is Intimidation (1960, dir. Koreyoshi Kurahara), a low-budget psychological thriller about a bank executive who gets caught with his hand in the cookie jar and who is blackmailed into larceny and crime. Clocking in at just over an hour, the film almost feels like an extended episode of Perry Mason, economically telling a tightly wound story of human corruption and greed.

The inimitable Grace Chang, The Wild, Wild Rose, 1960

The inimitable Grace Chang, The Wild, Wild Rose, 1960

The Wild Wild Rose (1960, dir. Tian-Ling Wang) features Hong Kong superstar Grace Chang, who ignites the screen as a flirty chanteuse involved in an ill-fated romance. Chang is a five-tool player, as she can sing, dance, act, and emote, and also looks like a million bucks. Chang applies her multi-octave vocal range to Mandarin-language adaptations of several songs from Carmen including a jazzy version of Habanero, as well as the aria from Madame Butterfly. She’s also surprisingly sympathetic as a bar girl who claims she can steal the heart of any man she chooses and who finds that her own heart is also at risk. The movie mixes melodrama, romance, a gangster named Cyclops, young lovers on the lam, and killer song-and-dance numbers into a heady brew.

I love American film noir but I love the idea of global noir even more, and I’m totally amped that the Roxie is presenting this brilliant series. Don’t miss it—

A Rare Noir Is Good To Find: International Film Noir 1949-74,

March 19-23, 2015

Roxie Theater

3117 16th Street

San Francisco CA 94110

415/863-1087

Entry filed under: film noir, grace chang, hong kong movies, movies, seijun suzuki. Tags: , , , , .

Nothing Compares 2 U: 2015 CAAMfest This Is How We Do It: Two Thumbs Up at the Hong Kong International Film Festival

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