This unassuming noir classic can boast a strong creative pedigree and an unusual ending… which I’ll not spoil. Dan Duryea is the confused pianist helping June Vincent clear her husband of a murder charge, by infiltrating the nightclub of suspicious Peter Lorre. The outline sticks close to Cornell Woolrich’s story source, and Roy William Neill contributes a classy job of direction.
Black Angel
Blu-ray
Arrow Academy
1946 / B&w / 1:37 Academy / 81 min. / Street Date January 28, 2020 / 39.95
Starring: Dan Duryea, June Vincent, Peter Lorre, Broderick Crawford, Constance Dowling, Wallace Ford, Hobart Cavanaugh, Ben Bard, Freddie Steele, John Phillips.
Cinematography: Raoul Ivano
Film Editor: Saul A. Goodkind
Special effects: David S. Horsley
Original Music: Frank Skinner
Written by Roy Chanslor from a novel by Cornell Woolrich
Produced by Roy William Neill, Tom McKnight
Directed by Roy William Neill
The many movies made from Cornell Woolrich’s novels and stories can be a...
Black Angel
Blu-ray
Arrow Academy
1946 / B&w / 1:37 Academy / 81 min. / Street Date January 28, 2020 / 39.95
Starring: Dan Duryea, June Vincent, Peter Lorre, Broderick Crawford, Constance Dowling, Wallace Ford, Hobart Cavanaugh, Ben Bard, Freddie Steele, John Phillips.
Cinematography: Raoul Ivano
Film Editor: Saul A. Goodkind
Special effects: David S. Horsley
Original Music: Frank Skinner
Written by Roy Chanslor from a novel by Cornell Woolrich
Produced by Roy William Neill, Tom McKnight
Directed by Roy William Neill
The many movies made from Cornell Woolrich’s novels and stories can be a...
- 1/14/2020
- by Glenn Erickson
- Trailers from Hell
Olive's new branded line reissues the Nicholas Ray classic with a full set of authoritative extras -- plus a never-before-seen widescreen transfer, in all of its Trucolor glory. Joan Crawford and Sterling Hayden never looked better -- we can all compare theories about la Crawford's color-coded costumes. Just how masculine is Vienna supposed to be? Johnny Guitar (Olive Signature widescreen edition) Blu-ray Olive Films 1954 / Color / 1:66 widescreen / 110 min. / Street Date September 20, 2016 / available through the Olive Films website / 39.95 but heavily discounted Starring Joan Crawford, Sterling Hayden, Mercedes McCambridge, Scott Brady, Ward Bond, Ben Cooper, Ernest Borgnine, John Carradine, Royal Dano, Frank Ferguson, Paul Fix, Rhys Williams. Cinematography Harry Stradling Film Editor Richard Van Enger Original Music Victor Young Written by Philip Yordan from the novel by Roy Chanslor Produced by Herbert J. Yates Directed by Nicholas Ray
Reviewed by Glenn Erickson
Wow, it's already been four years since Olive released a...
Reviewed by Glenn Erickson
Wow, it's already been four years since Olive released a...
- 9/20/2016
- by Glenn Erickson
- Trailers from Hell
Jane Fonda movies on TCM: ‘The China Syndrome,’ ‘Klute,’ and Jean-Luc Godard drama ‘Tout Va Bien’ among highlights (photo: Jane Fonda in ‘Klute’) Turner Classic Movies’ 2014 "Summer Under the Stars" kicked off earlier today, August 1, with a day-long series of Jane Fonda movies. Still reviled by American right-wingers because of her 1972 trip to North Vietnam while the United States was at war with that country — she was photographed seated on an anti-aircraft battery — but admired by others for her liberal views, anti-war activism, and human rights advocacy, the two-time Best Actress Academy Award winner has enjoyed a highly eclectic film career, eventually becoming a rarity among rarities: Jane Fonda is the child of a film star (Henry Fonda) who not only became a film star in her own right, but who went on to become an even bigger screen legend than her famous parent. (See also: Jane Fonda “Summer Under...
- 8/2/2014
- by Andre Soares
- Alt Film Guide
Black Angel
Written by Roy Chanslor
Directed by Roy William Neill
USA, 1946
Famous recording artist Mavis Marlowe (Constance Dowling) has sheltered herself from her drunkard husband Martin Blair (Dan Duryea) in her lush Los Angeles condo. To ensure tranquility and peace of mind, she has asked the doorman to disallow Martin from reaching her, the latter looking up anxiously from street level at her window high above. The doorman’s rebuttals send Martin into a drinking frenzy, during which time another man, Kirk Bennet (John Phillips), enters Mavis’ home for reasons unknown only to find her dead. It isn’t long before the police track Kirk to his homely domain, where his wife Catherine sees her better half arrested for murder, sending her into a tizzy. With Kirk convicted and sentenced to death, Catherine takes it upon herself to piece together the puzzle to clear her husband’s name. To do so,...
Written by Roy Chanslor
Directed by Roy William Neill
USA, 1946
Famous recording artist Mavis Marlowe (Constance Dowling) has sheltered herself from her drunkard husband Martin Blair (Dan Duryea) in her lush Los Angeles condo. To ensure tranquility and peace of mind, she has asked the doorman to disallow Martin from reaching her, the latter looking up anxiously from street level at her window high above. The doorman’s rebuttals send Martin into a drinking frenzy, during which time another man, Kirk Bennet (John Phillips), enters Mavis’ home for reasons unknown only to find her dead. It isn’t long before the police track Kirk to his homely domain, where his wife Catherine sees her better half arrested for murder, sending her into a tizzy. With Kirk convicted and sentenced to death, Catherine takes it upon herself to piece together the puzzle to clear her husband’s name. To do so,...
- 3/21/2014
- by Edgar Chaput
- SoundOnSight
Hollywood director and screenwriter who won an Oscar for Dog Day Afternoon
In Sunset Boulevard, William Holden's character remarks: "Audiences don't know somebody sits down and writes a picture. They think the actors make it up as they go along." Given the difficulties in quantifying their contributions, screenwriters seldom get the recognition they deserve. Frank Pierson, who has died aged 87, wrote the screenplays for 10 films but his reputation rests on Cat Ballou (1965), Cool Hand Luke (1967) and Dog Day Afternoon (1975), all of which gained him Academy Award nominations, with the last of them winning the Oscar for best original screenplay.
Yet most of the plaudits for Dog Day Afternoon went to Sidney Lumet, the director, and Al Pacino, the star. Pierson, whose work had as much to do with structure and character as dialogue, shaped the script from a Life magazine article about a bungled bank robbery that took place...
In Sunset Boulevard, William Holden's character remarks: "Audiences don't know somebody sits down and writes a picture. They think the actors make it up as they go along." Given the difficulties in quantifying their contributions, screenwriters seldom get the recognition they deserve. Frank Pierson, who has died aged 87, wrote the screenplays for 10 films but his reputation rests on Cat Ballou (1965), Cool Hand Luke (1967) and Dog Day Afternoon (1975), all of which gained him Academy Award nominations, with the last of them winning the Oscar for best original screenplay.
Yet most of the plaudits for Dog Day Afternoon went to Sidney Lumet, the director, and Al Pacino, the star. Pierson, whose work had as much to do with structure and character as dialogue, shaped the script from a Life magazine article about a bungled bank robbery that took place...
- 7/26/2012
- by Ronald Bergan
- The Guardian - Film News
Is there a film you’ve tried to watch only to have Fate thwart your efforts again and again? Cat Ballou was on that list for me. I had it recorded on my DVR and lost it, and I don’t know how many times I’ve fired it up via Netflix only to be interrupted or decide I needed a movie with a bit more edge to it. But when I took on Western Wednesdays, I resolved I’d conquer Cat Ballou once and for all.
Perhaps all the build-up and fan enthusiasm (It’s been recommended to me so many times) raised my expectations too high, because Cat Ballou didn’t do much for me. It’s such a classic film I feel like the blame lies with me. I have this kind of abusive relationship with older films, you know. If I don’t love it, it’s my fault.
Perhaps all the build-up and fan enthusiasm (It’s been recommended to me so many times) raised my expectations too high, because Cat Ballou didn’t do much for me. It’s such a classic film I feel like the blame lies with me. I have this kind of abusive relationship with older films, you know. If I don’t love it, it’s my fault.
- 3/3/2010
- by Elisabeth Rappe
- The Flickcast
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