Film Noir

Guru Dutt – Aar-Paar aka Across the Heart (1954)

Kalu (Guru Dutt), a taxi driver who was sentenced to prison for speeding, is released two months before his term for good behaviour. His old employer refuses to let him drive his taxi again. Wandering the streets, Kalu helps a young woman Nikki (Shyama) to fix her car. Kalu goes home but his brother-in-law will not have a convict in the house so he finds himself on the streets. Kalu visits a club to deliver a message for Captain on behalf of a former jail mate. He gets a job at Nikki’s father’s garage and love blossoms between Nikki and him. When her father finds out, he kicks Kalu out. Kalu asks Nikki to elope with him but she hesitates and by the time she decides to do so, he has already left. Read More »

João Rui Guerra da Mata, João Pedro Rodrigues – A Última Vez Que Vi Macau (2012)

Two filmmakers leave to Macao in an adventure of discovery of a city-labyrinth, multicultural and mysterious, where the memories of the childhood – featured memories by the lived reality in Macao – have a dialog with the memories of the East built by the codes of the cinema and the literature – memories lived on a featured reality-, creating a testimony which tries to raise the veil on the past and the present time. A personal album of physical and emotional geography, structured as an investigation disguised as a thriller, where the puzzle of the history challenges the reality. Read More »

Charles Barton – Smooth as Silk (1946)

Lawyer Kent Taylor (Mark) helps writer John Litel (Steve) by defending his relative Danny Morton (Don) in a drink-driving case where he is guilty. Taylor manipulates witness accounts so that Morton goes free and he does this on the understanding that Litel will give his girlfriend Virginia Grey (Paula), the lead role in his new play. Well, after the court case, Litel goes back on his word and, understandably, Taylor is not happy, especially when Grey’s true character begins to reveal herself as she ruthlessly pushes her self-interest. Time for a murder…… Read More »

Seijun Suzuki – Jûsangô taihi-sen ori: Sono gôshô o nerae aka Take Aim At The Police Van (1960)

A sharpshooter kills two prisoners in a police van at night. The guard on the van is suspended for six months; he’s Tamon, an upright, modest man. He begins his own investigation into the murders. Who were the victims, who are their relatives and girlfriends, who else was on the van that night? As he doggedly investigates, others die, coincidences occur, and several leads take him to the Hamaju Agency, which may be supplying call girls. Its owner is in jail, his daughter, the enigmatic Yuko, keeps turning up where Tamon goes. Tamon believes he can awaken good in people, but has he met his match? Will he solve the murders or be the next victim? And who is Akiba? Read More »

Bodil Ipsen & Lau Lauritzen – Café Paradis (1950)

From: Wikipedia:
Café Paradis (English Title: Paradise Cafe) is an award-winning Danish film made in 1950, directed by Bodil Ipsen and Lau Lauritzen Jr., and written by Johannes Allen. The film received the Bodil Award for Film of the Year, and Ib Schønberg, for what is regarded his finest performance, received the Bodil Award for Best Supporting Actor.
The story illuminates the problems of alcoholism as it follows the lives of two people: one is a common workman (played by Poul Reichhardt) who drinks too much beer, and the other is a company director (played by Ib Schønberg), who believes he just needs “a little one every now and then.” They both come to face the consequences of their addictions. Read More »

Terence Fisher – Wings of Danger (1952)

Quote:
“A former pilot suffering from blackouts discovers that a fellow flyer is suspected of being mixed up with a web of smugglers. While searching for his missing buddy, he unwittingly becomes entangled in a morass of suspicion!” Read More »

Edgar G. Ulmer – Detour (1945)

Review
“Detour” is a movie so filled with imperfections that it would not earn the director a passing grade in film school. This movie from Hollywood’s poverty row, shot in six days, filled with technical errors and ham-handed narrative, starring a man who can only pout and a woman who can only sneer, should have faded from sight soon after it was released in 1945. And yet it lives on, haunting and creepy, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it. Read More »