Word: mann
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...Alton-Mann films - T-Men, He Walked by Night, Reign of Terror, Border Incident and Devil's Doorway - are unlike any other noirs in their visual density and tonal texture. Like many movies in the genre, these are indebted to the look that Orson Welles and Gregg Toland created for Citizen Kane: chiaroscuro lighting, characters in extreme closeup or long shot, and plenty of low-angle shots. Alton pushed these tenets further than most. He shot even the sitting figures from below, with the tops of rooms pressing down on them; he loved ceiling shots more than Japanese tourists...
...John C. Higgins wrote or co-wrote the five noirish procedurals - Railroaded!, T-Men, Raw Deal, He Walked by Night and Border Incident - that lifted Mann from the bondage of B-minus musicals, got him hired by a major studio (the major, MGM) and form the bedrock of his current furtive eminence. Higgins had written several Crime Does Not Pay docudrama shorts for MGM in the '30s. And when the police-procedural docudrama became a popular feature-length genre in 1945 with the success of The House on 92nd Street (produced by Louis de Rochemont, who had fashioned miniature versions...
...dogged work of government sleuths to catch him. Audiences were assured that not only could this felony happen, it did happen, for it was "based on case histories in the files of" some federal agency. But that was just half of it. The veneer of authenticity allowed Higgins and Mann to display more rotten behavior, more thugs lashing out in violence, than would be permitted in a story with no law-enforcement pedigree. After 70 mins. of betrayal, despair and sadism, the narrator would return to insist that crime does not pay. Except at the box office...
...question that for Mann, and the genre, the docudrama approach was mostly an excuse to show lowlifes in low lighting. And if Higgins supplied the craft of Mann's noir films, cinematographer John Alton surely served up the art. Before hooking up with Mann, Alton had a nomad's r?sum?: born in Hungary, an assistant in Hollywood silent films, shooting pictures in Argentina in the '30s, then B and C movies back in America. The two men clicked as collaborators, sparking with extreme visual tropes, each instantly elevating the other's work. "I found a director in Tony Mann...
...Alton's masterpiece with Mann was not, strictly speaking, a noir. It was a historical epic called The Black Book also known as The Reign of Terror, and it concerned the head-chopping horrors of the French Revolution, with Basehart as a rabid Robespierre and Robert Cummings as yet another Mann hero serving in the noble role of secret agent. (Instead of counterfeit plates, Cummings is looking for a Robespierre diary with an enemies list inside.) Yet, from force of habit, or in anticipatory tribute to the French critics who would later give a name to the genre, Alton concocted...