Despite its many connotations, black and whte is most frequently used to signify the past––especially the past ihabited by our parents and grandparents, which we can see in old movies but never experience directly. A highly intelligent commentary on this phenomenon is independent filmmaker Mark Rappaport’s EXTERIOR NIGHT, made for high-definition color TV (HDTV) which combines original color imagery with archival footage of sets or backgrounds from THE MALTESE FALCON, THE BIG SLEEP, MILDRED PIERCE, POSSESSED, DARK PASSAGE, THE FOUNTAINHEAD, YOUND MAN WITH A HORN, STRANGERS ON A TRAIN, and a score of other black-and-white movies. Using a blue-screen technique, Rappaport and HDTV cameraman Serge Roman frequently pose contemporary actors against studio nightclubs and streets from the 1940s.Even when the action is staged on colored sets representing the present day, the black-and-white imagery is never far away: we glimpse it through windows or on TV screens, and the characters talk about it constantly. (…) Like a sweetly romantic version of LAST YEAR IN MARIENBAD, EXTERIOR NIGHT creates a paradoxical, Möbius-strop relationship between the past and the present––an eternal round of “noirness” that has no particular beginning or end.
— James Naremore
1.14GB | 35m 07s | 1920×1080 | mkv