Word: noire
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Dates: during 1990-1999
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DIED. ABRAHAM POLONSKY, 88, film-noir screenwriter and director who was blacklisted for nearly 20 years for refusing to name names at the height of McCarthy hysteria; in Beverly Hills, Calif. Polonsky, who won an Oscar nomination for the 1947 boxing film Body and Soul, continued to work in Hollywood pseudonymously...
...According to Theatre film buff co-directors, Marianne Lampke and Connie White, each season has a framework of five themes. "We give a certain personality to each day," says White. Here's how it goes: The women are big on film noir, a genre of shadowy crime films featuring cynical, malevolent characters (a "wonderful genre," says Marianne), and Mondays are largely devoted to these movies. Tuesdays host quirky, cult-classic, independent movies, and Wednesdays are reserved for "Recent Raves," selected from new art films that have left mainstream cinema, but are yet to be released on video. Thursdays feature films...
...another territory, the frothy world of Friends. That's where Kevin Smith stepped in. Taking a cue from Whit Stillman's so-so trilogy of yuppie angst (Metropolitan was delightfully disaffected, but did anyone really care about Last Days of Disco?), Smith began a series of post-yuppie angst-noir with 1994's Clerks, a grimly hilarious movie that combined Seinfeld's inane blabber and outlandishly tragicomic situations with more angst than you could scrub out with a bar of Fight Club's Paper Street soap. After that came Mallrats and Chasing Amy, more dismally delightful chronicles of the post...
...another territory, the frothy world of Friends. That's where Kevin Smith stepped in. Taking a cue from Whit Stillman's so-so trilogy of yuppie angst (Metropolitan was delightfully disaffected, but did anyone really care about Last Days of Disco?), Smith began a series of post-yuppie angst-noir with 1994's Clerks, a grimly hilarious movie that combined Seinfeld's inane blabber and outlandishly tragicomic situations with more angst than you could scrub out with a bar of Fight Club's Paper Street soap. After that came Mallrats and Chasing Amy, more dismally delightful chronicles of the post...
...Although thematically (and sometimes visually), The Limey owes much to film noir, in form it does something that perhaps no other film has done before. Not only does Soderbergh layer past, present and future through varied sequences of scenes, but he applies the same temporal distortion to sequences of individual shots. A shot of Wilson strolling past a building is replayed again and again, intercut with other shots of the avenging father contemplating his search. An uninterrupted conversation between Wilson and Elaine (Lesley Ann Warren), Jenny's former acting instructor and friend, is simultaneously played out over several disparate locations...