Rififi

February 26, 2020
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How did Jules Dassin use this film to help break the blacklist? Are the criminal protagonists here easy to like? How do they so effectively amp up the tension in the robbery? Tune in to this week’s show to get these answers and more!

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Touch of Evil

April 24, 2015
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Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part…

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Ace in the Hole

April 17, 2015
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From “Double Indemnity” in 1944 through “The Apartment” in 1960 (maybe even “One, Two, Three” in ’61), Billy Wilder really hit his stride. His films were all over the map genre-wise, yet he showed how great a director he was because they’re all incredibly memorable. With his successes, however, he certainly didn’t shy away from…

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Out of the Past

April 10, 2015
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The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already…

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Scarlet Street

April 3, 2015
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Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at…

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Detour

March 27, 2015
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There are good films noir and there are bad films noir. But rarely do you have a case like 1945’s “Detour,” directed by Edgar G. Ulmer, where the poor quality that would make it a bad film could actually be construed as elements that make it a good film. In fact, this is arguably the…

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Double Indemnity

March 20, 2015
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Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime…

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