Tag Archives: film noir

Black Angel (Roy William Neill, 1946)

Posted on February 19, 2020 by Budd Wilkins

“Black Angel plumbs a world rife with deviousness, desperation, greed, and betrayal, and it gets a solid A/V transfer and set of extras from Arrow Films.” Read my entire review of this little-known noir title over at Slant Magazine.

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Le Jour Se Lève (Marcel Carné, 1939)

Posted on November 12, 2014 by Budd Wilkins

“Le Jour Se Lève typically gets shoehorned, along with a handful of other collaborations between director Marcel Carné and screenwriter Jacques Prévert, into a filmic historical movement known by the oxymoronic catchall “poetic realism.” But, in many ways, it’s more … Continue reading →

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They Made Me a Fugitive (Alberto Cavalcanti, 1947)

Posted on July 24, 2012 by Budd Wilkins

“A slam-bang Brit noir makes its way onto Blu-ray courtesy of Kino Lorber, looking fresher than ever, though with nothing in the way of supplements.” Read my review of the new Kino Classics release of Cavalcanti’s top-shelf noir, out this … Continue reading →

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“Flower of Evil”: Pale Flower (Masahiro Shinoda, 1964)

Posted on July 21, 2011 by Budd Wilkins

Japanese New Wave meets old-style film noir in Masahiro Shinoda’s exceptional black-and-white film, every bit as extraordinary as his later Double Suicide (1969), a cubist/minimalist deconstruction of a well-known Kabuki drama. In addition to the prevalent noir tropes (location shooting … Continue reading →

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Take Two: Ernest Hemingway’s The Killers (Robert Siodmak, 1946 & Don Siegel, 1964)

Posted on July 18, 2011 by Budd Wilkins

[Introducing Take Two, a new feature on this blog that will explore the contextual (historical, aesthetic and otherwise) similarities and differences between two versions of the same material, whether two films based on the same source or simply original and … Continue reading →

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Capsule Reviews: July 11 – 16

Posted on July 17, 2011 by Budd Wilkins

The Furies (Anthony Mann, 1950) – 4/5 Fresh from a triple feature of film noir classics (T-Men, Raw Deal and Border Incident [1947-49]) featuring the moody monochrome cinematography of the legendary John Alton, Mann segues into the genre he would … Continue reading →

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Passing Strange

Posted on March 18, 2011 by Budd Wilkins

SURREALISM AND FILM NOIR In his book More Than Night: Film Noir in its Contexts (2008), James Naremore discusses the comparative neglect accorded the influence of Surrealism in discussing the genesis of films noir: “The importance of existentialism to the … Continue reading →

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