cigarette smoke snaking across the screen, a menacing shadow bias that crept along the ground , resourceful and flexible dialogue as sharp as a razor blade, guns, bourbon , punching, slapping, felt hats, impeccable suits, luxurious clothing, men of strict solitary moral, femmes fatales lack of it, illegal casinos which always sounds a piece of jazz bars, bar to drown sorrows, doors that open and close, violence, deceit, betrayal, passion ... and night, the night always in the background, the context in which they develop the convoluted plots of these films. Film noir , they call it. One way to roll, a style rather than a genre that has given us countless masterpieces.
You know that I love the lists (too naive). Well, I decided to choose my favorite genre, presenting them in two batches of ten (what a daring, huh?). In this and spend the next entry I'll introduce you to the movies 20 titles, which are essential to me, grouped into two categories: black cinema and film gangster or police. The border that separates them is often quite diffuse, so some titles may commutations perfectly, do not care, the issue was to have a little more than field to choose from, and I did.
start with the black film , itself. Here are my ten on today sorted by release date. To clarify, yes, that neither of them speak in terms of the best, nor seen, of course, all that is (fortunately I still have a long and very good find, I hope to have time). Finally, bear venture and these are my chosen:
- The Last Refuge ( Raoul Walsh, 1941) Doom
- ( Billy Wilder, 1944)
- Laura (Otto Preminger , 1944) Scarlet
- ( Fritz Lang, 1945)
- Gilda (Charles Vidor , 1946)
- The Big Sleep (Howard Hawks , 1946) Return to
- past (Jacques Tourneur , 1947)
- Night and the City ( Jules Dassin, 1950)
- The Bribed ( Fritz Lang, 1953)
- Chinatown (Roman Polanski , 1972)
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