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To be sure, it's a recognisable Charlton Heston in makeup as Mike Vargas, with Janet Leigh as Susie — but in , that bond disturbed a lot of viewers. From Nicholas Musuraca's chiaroscuro cinematography "It was so dark on set, you didn't know who else was there half the time," said Greer to Roy Webb's plangent score and the guarded, electrifying performances, it's nothing short of a noir masterclass. Fifty years later, that border is still an open wound. No one ever smoked and brooded and loomed like Robert Mitchum.

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Kiss Me Deadly opens with a woman, naked under a raincoat, fleeing headlong and barefoot down a highway at night. Woody Allen declared it "the greatest movie ever made". On paper, the plan is seamless — Tavernier secures his alibis and enters his victim's office unseen, by means of a rope — but things soon get messy. It's one of the greatest, in fact. But the sharpened splinters of dialogue also bear the mark of Cain — James M Cain, that is, the legendary author of noir landmarks The Postman Always Rings Twice and Double Indemnity, who performed vital but uncredited rewrites. Rescued by Hammer, then un-rescued by her faceless original captors, she dies screaming under gruesome torture with pliers Aldrich was always at the vanguard in his use of violence. One of the first films to cement the nascent Sundance film festival's reputation, Blood Simple isn't so much neo-noir as neo-neo-noir, using postmodern flourishes that still seem bold today.

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He encounters the rich, ruthless capitalist Noah Cross John Huston and his estranged daughter, the beautiful Evelyn Mulwray Faye Dunaway , whose husband, head of the Los Angeles Water and Power Board, dies under mysterious circumstances. And she's not just a vamp. Jerry Goldsmith's superb score uses strings and percussion during moments of suspense and a distant, and bluesy trumpet for elegiac, contemplative scenes. Surrounded by gargoyles and grotesques, even on his own team — he uses his secretary Velma as willing sexual bait — Hammer is a cynic who knows everything about human weakness but nothing about the frame he's in. Although its elements point towards nailbiting tension, this isn't so much what Lift to the Scaffold is about. it draws more on the blanket fatalism of film noir rather than the savage irony so often associated with the genre. Ex-Foreign Legion soldier Julien Tavernier Maurice Ronet , a veteran of French military misadventures in Algeria and Indochina, is planning to kill his boss, who is also his lover's husband.

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Description: It qualifies as film noir for its appropriation of US postwar cinema in its tale of lovers gone bad, but also heralds the imminent arrival of the French new wave. On paper, the plan is seamless — Tavernier secures his alibis and enters his victim's office unseen, by means of a rope — but things soon get messy. For most directors this would be enough, but the Coens embrace the full-on complications of the genre to create a genuine sense of an "easy" crime spiralling out of control. Even if you can't go along with that, there can be no disputing that it is the finest film noir of all time, though it was made in , before the term film noir was even coined. Moreover, the overtone of honeymoon is a wicked setup for threats of rape. Surrounded by gargoyles and grotesques, even on his own team — he uses his secretary Velma as willing sexual bait — Hammer is a cynic who knows everything about human weakness but nothing about the frame he's in. But the ace in the hole is Barbara Stanwyck as Phyllis Dietrichson, a vision of amorality in a "honey of an anklet" and a platinum wig. According to Mitchum's biographer, Lee Server, it was Cain who expunged Kathie of any traces of lovability.
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