Posts tagged ‘sam fuller’

Long Dark Road: 2019 Noir City film festival

tumblr_o9pc190kOS1s30ma9o7_500

Party Time, Pickup On South Street, 1953

The 2019 edition of the Noir City film festival just finished another excellent run and there was a party atmosphere for the 10-day festival as the Castro Theater hosted full houses for almost every show. As usual Noir City had value-added features including live music in between some shows, screenings of rare clips and trailers, and informative and edifying introductions by Noir City founder Eddie Muller and other knowledgable film noir geeks/authors. The movies I attended were uniformly good, but a few stood out due to the significant combination of a great cast, a strong script, and excellent direction.

Some of the festival’s offerings fell a bit short on one of the three key elements above, making for less than satisfying results. For instance, legendary director Michael Curtiz (Casablanca; Mildred Pierce) helmed The Scarlet Hour (1956) with a sure hand, and the script is classic noir, about a femme fatale and her hapless sap of a boytoy who are involved in a jewel heist. But rookie actresss Carol Omhart isn’t quite up to scratch in the lead role and despite its other strong elements the film falters on her uneven performance. Conversely, The File On Thelma Jordan (1950) includes an excellent performance from Barbara Stanwyck and moody and evocative direction by Robert Siodmak but the script’s improbable plot twists diminish the film’s overall impact.

MV5BYjQzZWIxMTYtNjg3NC00M2UxLWFmNzMtNzU5MDM5ODdlNDY1XkEyXkFqcGdeQXVyNDUzNjQ5MDk@._V1_

Struggling, Nightfall, 1957

Jacques Tourneur’s Nightfall (1957) is a much more successful endeavor. Although not possessing the mournful beauty of his classic noir Out of the Past, Nightfall still showed Tourneur’s strong directorial touch. The film’s two thugs, played by Brian Keith and Rudy Bond, feel truly menacing and Aldo Ray as the protagonist on the run conveys a strong sense of a man struggling to keep his bearings in the shifting sands of noir-world danger. A very young Anne Bancroft is Ray’s love interest and her performance displays a strength and gravity beyond her years. The film has just the right touch of fatalistic peril and dread to keep the viewer engaged.

Pickup-on-South-Street-1953

Complex, Pickup On South Street, 1953

One of my favorite films of all time, Pickup On South Street (1953), was part of a trio of movies directed by Sam Fuller in this year’s festival, and it fully demonstrates a film firing on all cylinders, with acting, script, and directing all top-notch. Fuller’s kinetic directorial style and his intense, fast-paced script brilliantly complement Richard Widmark and Jean Peters’ performances as streetwise characters who are constantly maneuvering to survive. Thelma Ritter contributes a stellar performance as an aging stool pigeon, delivering a complex and emotional turn that forms the moral center of the movie.

tumblr_o7fxebvUgH1uhbcvmo1_500

Sultry, The Crimson Kimono, 1957

The festival also screened Fuller’s 1957 film The Crimson Kimono, which is notable for including a Japanese American character, Joe Kojaku (played with sultry subtlety by the doe-eyed James Shigeta), in a romantic lead. The film also includes a sympathetic and mostly Orientalist-free representation of the Los Angeles JA community with Nisei characters who speak in unaccented English and who are human beings instead of exotic caricatures. The film falls a bit short, however, in its analysis of race relations as it suggests that Joe’s experiences with racist microaggressions are a figment of his imagination. SPOILER: He does get the girl, however, which for mid-1950s America was pretty revolutionary.

 

odds against tomorrow 1

Tense, Odds Against Tomorrow, 1959

 

Odds Against Tomorrow (1959), a tense crime thriller produced by and starring Harry Belafonte, also possesses the magic combination of script, cast, and direction. The film shows a darker side to Belafonte’s usual upbeat persona as he plays Johnny, a nightclub singer facing dire straits due to his gambling addiction. After loan shark enforcers threaten his family with harm Johnny teams up with a couple of other shady characters including Earl, a racist from Oklahoma played by Robert Ryan, and David (Ed Begley), a fallen-from-grace cop. They three attempt to pull off a risky bank heist but the meat of the story is the strong character development of both Johnny and Earl. Director Robert Wise (West Side Story; The Sand Pebbles) delves into both characters’ personal lives to give weight and heft to what’s at stake for the two. As a result the film’s climax and conclusion are exceptionally tense and gripping. Also, unlike The Crimson Kimono, racism doesn’t get a pass in this film SPOILER and in fact Earl’s flagrant bigotry is a key culprit in the failure of the heist.  END SPOILER Bonus points for supporting roles from Shelly Winters as Earl’s long-suffering girlfriend and Gloria Grahame as the sexy neighbor upstairs, as well as for the excellent score by John Lewis of the Modern Jazz Quartet.

The festival concluded with a pair of hard-boiled films from 1961. Sam Fuller’s third installation in this year’s festival, Underworld USA, is a bleak little number full of vengeance, double-crosses, and grudges. Cliff Robertson snarls his way through the film as a safecracker out to get the thugs who killed his dad some twenty years prior. With almost no redeeming characters the film is an existential ode to the shady side of life, where the only motivations are revenge and survival.

blast of silence

Twisted, Blast of Silence, 1961

The festival closed with the excellent and underappreciated Blast of Silence, a low-budget gem directed with a stylish and jaded eye by Allen Baron. Baron also stars as Frankie Bono, a creepy hitman who presages Travis Bickle in his angst-ridden interior monolog and his twisted, affectless approach to killing. The film follows Frankie as he plots his next hit and depicts his sad and stilted attempts to make meaningful human contact beyond his gruesome professional responsibilities. Bleak, hard-boiled, and grim, and set in the dead of winter between Christmas and New Year’s day, Blast of Silence is like an icy slap of cold air on a winter’s day.

 

Advertisements

February 6, 2019 at 4:55 pm Leave a comment

Drunk In Love: Asian Males in Hiroshima Mon Amour and The Crimson Kimono

Object of desire, Hiroshima Mon Amour, 1959

Object of desire, Hiroshima Mon Amour, 1959

As Asian American film scholar Celine Parreñas Shimizu notes, there is “a long tradition in Hollywood movies of iconic portrayals of Asian American men (as) rapacious and brutal, pedophiliac, criminal, treacherous and also romantic, and quaint. Sexuality and gender act as forces in the racialization of Asian American men.” Sadly, despite tiny steps towards improvement, Asian male representation in Hollywood still remains timidly entrenched in stereotypes. Sure, John Cho is the leading man in Selfie, (although he’s already starting to be a bit stalkerish), and Glenn (Steven Yeun) from The Walking Dead is still alive and human (though there are persistent rumors of his imminent demise), but on the big screen the ridiculously hot Lee Byung-Hun is still playing the bad guy (most recently in the upcoming Terminator: Genisys) instead of fulfilling all of our fantasies as a romantic lead.

Romantico, The Crimson Kimono, 1959

Romantico, The Crimson Kimono, 1959

Strangely enough, our modern era is in some ways more regressive than, say, 1959. Althought the 1950s weren’t known for their progressive portrayals of Asian Americans in Western films, in that year Asian men appeared as objects of desire in two significant movies. In 1959 the Hawai’ian born Sansei actor James Shigeta made his big-screen debut in Sam Fuller’s film The Crimson Kimono, playing a Los Angeles detective assigned to the case of a murder of an exotic dancer. The film is an engaging cop movie but it’s most notable for its portrayal of a love triangle involving Shigeta, his white partner Sgt. Charlie Bancroft, and Bancroft’s girlfriend Christina, who is also white. Unlike most such romantic conflicts involving an Asian man opposite a white guy, in this case Shigeta got the girl, which made The Crimson Kimono a groundbreaking anomaly in Hollywood. James Shigeta was a co-winner of the 1960 Golden Globe Award for Most Promising Male Newcomer and he would go on to a moderately successful career as a romantic lead for a few years but he never became the superstar that his good looks and charisma would indicate. Like most Asian American men in Hollywood up until and after that time Shigeta ran into the impenetrable glass ceiling of racism.

Dreamboat, Hiroshima Mon Amour, 1959

Dreamboat, Hiroshima Mon Amour, 1959

1959 also saw the depiction of another desirable Asian male, in Alain Resnais’ Hiroshima Mon Amour. In that film Eiji Okada plays the intensely romantic Lui, a Japanese architect who has a brief and torrid affair with a Frenchwoman played by Emmanuelle Riva (seen most recently in Michael Haneke’s Amour). With a screenplay by noted Asiaphile Marguerite Duras (L’Amant/The Lover; Un barrage contre le Pacifique/The Sea Wall), Resnais’ film depicts Lui as suave, tender, and desirable,  which contrasts greatly with the ways that Hollywood has typically portrayed Asian men. Okada is particularly swoonworthy as he and Riva’s character passionately discuss love, war, genocide, and beauty, against the backdrop of the site of first the atomic bomb attack. With the ruins of Genbaku Dome in the background, the film also utilizes a nonlinear narrative structure that links the European front, as exemplified by a long flashback set in France, to the Pacific theater, with Hiroshima repping for all of Japan. Set some fifteen years after the end of World War II, the film emphasizes the human cost of the war even many years after its ceasefire, as both Lui and Elle have been scarred by the loss of loved ones in the conflict. Elle fetishizes both her late German lover and Lui, as she is drawn to them due to their difference and otherness.

Now releasing theatrically for the first time in years in a new 4K digital restoration, Hiroshima Mon Amour remains fresh and relevant both thematically and stylistically (it’s regarded as one of the most influential films of the early Nouvelle Vague, or the French New Wave). It’s also an example of an early representation of an Asian male as not a caricature, a villain, or a clown, but as a fully fleshed out, highly desirable romantic lead. Now if only Hollywood could get a clue and do the same in the 21st century.

Opens October 31

Vogue Theater

3290 Sacramento St.
San Francisco CA

(415) 346-2228

October 31, 2014 at 5:03 pm 1 comment


supported by

Blog Stats

  • 406,485 hits

Archives

tweetorama