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9/10
French noir rarely seen
29 October 2018
I was fortunate to get a DVD copy of this film and was not disappointed. It's one of those film noirs, in this case French, where the protagonist is in a different country that his country of origin and has to not only deal with the intrigues of the femme fatale but in a culture and customs foreign to his own; Think Robert Mitchum in Acapulco in OUT OF THE PAST or Joseph Cotten in Vienna in THE THIRD MAN. And like those films, this one has the beautiful backdrop of Lisbon in the 1950's. I've been to Lisbon and this film show cases it better than any I've seen incorporation the rhythms and the music of the city.

The story has been presented by other reviewers so I'll not touch on it but film draws you into a romance doomed from the start and with a final denouncement as strong as OOTP and TTM. Highly recommended.
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6/10
Enjoyable master race time waster
18 April 2018
Warning: Spoilers
THE STRANGE DEATH OF ADOLF HITLER is an odd little film. I remember seeing as a 10 year old who was at the time fascinated by WWII and the Fall of the Third Reich. This movie showed up one afternoon on the TV in our basement club house and I found it an ironically twisted tale similar to the O. Henry's"The Gift of the Magi" only in this version the husband saves his wife by imitating Hitler and the wife ultimately saves her husband by killing him. Definitely worth a look,though finding a copy of the film in descent shape is virtually impossible.
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To the Victor (1948)
7/10
Obscure film noir shot on location in Paris
23 February 2018
From the 1948 New York Times review:

A curious combination of philosophical elements has been arranged by the usually righteous Warner Brothers to shape a drama on the brotherhood of man in their picture. In the milieu of post-war Paris, they have caused an American black-marketer to fall in love with a girl who is an ex-collaborationist and to find moral regeneration with her.

As though this elevation of two rightfully despicable types into hero and heroine of the picture were not sufficiently distasteful in itself, there are other aspects of it which are likely to burn perceptive folks. The whole tone and character of the story are artificial and contrived, even though it presumes to deal with tensions and readjustments which are sharply real today. A terribly vital social concept is speciously laced and confused in a typically over-anguished romance between a collar-ad Hollywood star, Dennis Morgan, and a new Swedish actress, Viveca Lindfors, who deserves another chance.

Further aggravation is latent in the fact that black-marketing is treated as a sort of cheap but adventuresome game, played by burlesque foreign characters (Joseph Buloff) and naughty but nice Americans. The French attitude, represented by Victor Francen as a chief of police, is made to appear highly formal and off in the academic clouds. And the actual wreck-strewn vastness of Normandy's Omaha Beach is dragged in to be the location of the romantic avowal of hero and heroine.

The evident fact that some of the picture was filmed in Paris and Normandy and the rest in a Hollywood studio, with the distinctions plain and sharp, only adds to the general aura of artificiality about this film. This is typical of the confused nature of Richard Brooks' script and the strangely uneven character of the direction of Delmer Daves.



TO THE VICTOR, screen play by Richard Brooks; directed by Delmer Daves; produced by Jerry Wald for Warner Brothers Pictures. At the Strand.
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Dragnet (1947)
6/10
Before there was DRAGNET, there was DRAGNET
19 October 2016
Warning: Spoilers
Poverty row noirish feature, not particularly good, but rare enough that a completist would appreciate it.

A dead John Doe is found on the beach and Detective Lieutenant Tony Ricco gets the case to solve. However, there are no clues whatsoever to the dead man's identity and Tony is all out of options to bring the investigation any closer to a finish. An old friend of his from Scotland Yard in London, Geoffrey James, comes to visit him, and Tony asks for some input on the case.

After examining the body and the man's clothes, Geoffrey concludes he wore a Harris Tweed coat and had Sterling pound notes on him, and therefore has to be of English origin. Geoffrey also discovers a fluorescent paint on the coat, which would suggest it is the same paint as the one used to mark floating objects in water to easier spot and rescue them.

Since the dead man had no water in his lungs he hasn't drowned,but maybe got the paint on him picking something up from the water, for example a life jacket.

Geoffrey goes to the site on the beach where the body was found and discovers a life jacket as suggested, in a beachcomber shack. He puts it on over his own coat but then he is suddenly attacked by the beachcomber. A strange woman also appears with the beachcomber. Geoffrey easily fends off the attack and left is he and the strange woman, who doesn't want to reveal her name to him. Instead she runs away from him.

Geoffrey runs after the woman but is knocked down by her friend. When he wakes up again, the life jacket is gone. Geoffrey changes tactics and looks into all the flights over the Atlantic ocean in the last few days, and eventually finds one where the bathroom window had been broken during the flight. He gets a beautiful flight attendant, Anne Hogan, to identify John Doe at the morgue as a Mr. Rodine, who worked as a diplomat and could pass through customs unchecked.

He meets up with Tony again, and the American colleague presents a theory about Geoff being in the U.S. to track down the gang members who were behind a very large hit on a jewelry store. Geoffrey confesses that he indeed suspects Mr. Rodine of involvement in the theft. He guesses that Rodine could have dropped the jewels into the ocean from the plane, using a life jacket to hold them afloat.

When Geoffrey speaks to the British consul he finds out that Rodine was killed a few days ago, long before the flight took place. Thus, the police still has no clue as to whom was found dead on the beach.

Geoffrey and the flight attendant go on a search for the supposed seaplane that could have been used to pick up the jewels from the surface. They find that a pilot named Joe King has flown a plane with Rodine out to sea to retrieve the jewels. When they later meet the strange woman from the beach, the flight attendant identifies her as one Irene Trilling, who was also a passenger on the same flight as the man pretending to be Mr. Rodine. Irene runs off again, but her friend is another passenger from the flight, whose name is Frank Farrington. When they talk to the pilot, he finally identifies the man posing as Mr. Rodine as Louis Gannet, a known criminal and con artist. King also tells them that he witnessed Farrington kill Gannet after they had retrieved the jewels. Farrington then seemed to believe that King had taken the jewels from Gannet.

Since neither Farrington not King has the jewels, someone else must have taken them. Geoffrey guesses that the beachcomber might have found them together with the life jacket, and goes back to the shack to look. He finds the jewels hidden in a lobster tank and takes them with him to Anne, the flight attendant, who has gone to find Irene and Farrington.

Farrington suspects that Gannet and Irene were trying to trick him, and he shoots and kills Irene before Geoffrey and Anne arrives. He also tries to kill Goffrey, but he is saved by Blake, an undercover policeman who has posed as a drunk and kept an eye on the Englishman during the investigation.
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7/10
Rare overlook film noir
12 October 2016
Warning: Spoilers
Solid little film noir along the lines of BLONDE ICE.

Femme Fatale Gina Crane (Marjorie Lord) formally Gina Hadley, is tracked down and blackmailed by her old lover Floyd Durant (Robert Shayne), who's familiar with Gina's habit of marrying rich old farts and then taking them for all their worth. Durant threatens to tell Clinton Crane (Pierre Watkin) of Gina's spotty history but before he can, the strange Mrs. Crane knocks him off and frames another woman for the killing. Things come to a head when Gina is picked as one of the jurors at the woman's trial. Nice twist ending in this overlooked rare noir.
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5/10
Disappointing
22 January 2015
I really wanted to like this seeing it was a Highsmith novel, great cast, beautiful locales and gorgeous photography. But the director and screenwriter wanted to film a suspense movie without any suspense. Every thrill is telegraphed, no tension, no tricky storyline..just a straight forward, boring at times, direct to video b-film. Jeez if they just watched a Hitchcock film they could have aced this.

Unfortunately, it just lumbers along and then....there went that one and a half hour of your life. Worth a watch cause it does "look" good and if you're not paying for it, nevertheless in the end you'll be disappointed.
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The Salvation (2014)
10/10
To paraphrase the film...
17 December 2014
"We've been praying for someone to come along and save us" from bad modern westerns.

No need to saying anything more about this sweet Danish that others haven't said better. Leave it to the Danes to strip down the baggage of the Italian spaghetti western and reinvent it. Fantastic cinematography, expert casting and streamline story telling. The first five minutes are in Danish without subtitles but in a unique way that adds to the growing tension. I would warn viewers that the build up to putting Mads into Eastwood mode in very nasty and, personally, was hard to watch.

Find a way to watch this dark, brutal take on frontier savagery and justice...love to see a sequel..
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1/10
Clasically bad cinema
16 June 2007
I recently watched this 1950 pot-boiler when I got it as a trade from another film noir collector. It's truly classic bad cinema - unknown and never going anywhere actors, hard-over-boiled dialog, minimalist acting, cheesy production values, poor film stock and a script that seems to have been put together on the fly. Nevertheless the direction and editing are not bad, on location shots of N.O. are excellent and the sleazy story is worth watching.

Essentially two NOLA cops go under cover to track down a Mafia drug kingpin who has re-entered the country to sell "junk" to the prostitutes and "hopheads" on Bourbon Street. Highlights include a cowboy boot killer, assorted lowlifes, strippers being slap around and murdered by Mr. Big, cop beatings and colorful Negros playing and singing their hearts out.

A train-wreck of a movie - highly recommended for us who love this stuff.
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Give It A Name
19 October 2004
I recently discovered this film, on a recommendation from a friend, and while it is overwritten, in parts slow, runs a half and hour too long, has unnecessary sub-plots and tries too hard to be slick (dialogue, visuals and character actors), I got to admit it has a way of sticking with you.

I won't defend it to those whose don't get the message (and it does have a message - hint: it's Piece's speech to Jimmy and in the words from the customers at Jimmy's business) but as a fan of 1940 - 50s film noir this movie has the "heart" lacking in most modern noirs. True noir is the realization that no matter what your good intentions, your best efforts, your thinking it through looking for an exit, when fate puts a finger on you....you're going down. Thankfully, the film doesn't cop out (well maybe a little in the "boat drinks" scene at the end) like most modern noir (LA CONFIDENTIAL to name one). In true noir fashion "everybody dies in the end".

Yes, it seems like it's channeling Tarantino (the truth is it was written well before PULP FICTION) nevertheless the soul of the film is the turmoil within Jimmy. Like a cancer patient that's been given the bad news...First there's denial, then anger, and finally acceptance. Everybody's a sucker for a romance (especially with women who look like Gabielle Adwar) and the film works best when it concentrates on their doomed relationship. Jimmy thinks he's different because he thinks he can change his life and his fate, but its not possible, he finally realizes that, closes his accounts and accept it.

There's a good film in there once you weed through the extranious crap, watch it a second time and you might understand it's truth: you got to live each day like it's your last because one day it will be.
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The Great War (1964)
AN OPINION FROM ACROSS THE POND
30 May 2004
As a great fan of THE WORLD AT WAR series, THE GREAT WAR was not a disappointment. Essential the same layout, THE GREAT WAR is the best series on WWI. Leave it to the Brits to make a fantastic documentary on this subject, vastly superior to later efforts like the the Robert Ryan / CBS series, the 1990's THE GREAT WAR series and film THE GUNS OF AUGUST.

If there is a fault, it's that is it doesn't move at the quick pace of the THE WORLD AT WAR, but hey, WWII is a much more exciting war. Also, if you live in the states only PAL versions are available. I picked mine up on EBAY, the Chinese version with subtitles.

Other than that it makes a must bookend for TWAW.
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Arrowhead (1953)
Mean Spirted, Indian Hating Western
6 November 2003
I've seen a lot of westerns but this film is probably the most racist piece of trash ever made. The action sequences are ok but the real problem with it is absolutely everybody is characterized to be pure evil, with the exception of Brian Keith who just appears to be stupid. Every Indian acts like a crazy, murderous savage and the hero (?), Heston (Over acting in the extreme) is the nastiest character in any western film history I've ever seen.

Don't waste your time!
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Yeah, but now they're smoking!!!!
10 August 2003
Finally got to see this film having wanted to for sometime. The film is noteworthy for great performances by Lemmon and Remick, but the real surprise is Klugman (Really a breakout performance).

Depressing story about additive personalities who claim booze as a buddy and don't address their real problem - poor upbringing, loneliness, and self-destruction. Funniest thing is all the people at the AA meeting in the smoke-filled room, puffing away at their new addiction....smoking. Just trading one death vice for another.

When are they going to do a story about the real problem of credit card abuse and living beyond your means?
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