Word: noire
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...five-course menu changes for each twice-weekly dinner, according to seasonal availability and the wines being showcased. Menus are never repeated, making each experience unique. At one dinner, a fresh, flowery Alsatian Riesling accompanied seared scallops with tomato fondue and Parma ham. At another, a voluptuous Australian Pinot Noir highlighted the flavors of crispy pigeon breast with fennel puree and saffron-vanilla sauce. Three mystery glasses are served with the main course - a fun guessing game for beginners and oenophiles alike...
...Beverly Garland, 82, played it steely in '50s B movies (she starred in five early Roger Corman cheapies), then sweet as Fred MacMurray's wife on My Three Sons. A cut-rate Barbara Stanwyck, she deserved better scripts than she got. In Edgar G. Ulmer's meat-B noir classic Detour (1945), Ann Savage, 87, invested her sharp features and scraping-chalk voice in, unquestionably, the harshest, most conniving bitch in movie history. More than 60 years later, Guy Maddin cast her as another harridan-hellion - his mother - in the recent "docu-fantasia" My Winnipeg...
...earliest work, while not quite so brilliant as those later portraits, prove to be interesting from the historical perspective of the evolution of the artist. Again, these photographs do not have the characteristic crispness yet—a portrait of an unidentified woman has more of the hazy film noir feel—nor do they have the same intense focus on the individual, but they do show Karsh’s beginnings and allow one to see just how far he came.The text accompanying the collection explains that “Karsh wrote of his fascination with...
...certain mood I’ll put on something like Eric Dolphy or Erik Satie. I think film is an interesting cousin to comics—and it’s dangerous to think of comics as storyboards—but inevitably some kinds of silent movie story-telling, noir film and non-narrative film that were beginning to be exposed during the period of the “Breakdowns” stuff all had a major impact on how I was thinking. THC: The title of your most recent publications is “Breakdowns: Portrait of the Artist...
...makers of the Max movie - director John Moore, screenwriter Beau Thorne - want you to think of their effort as less video game than film noir. Or a Woo noir, since the picture owes a lot to the visual grit and zazz of John Woo, the Hong Kong director (A Better Tomorrow, The Killer, Hard Boiled) who made good in Hollywood with the crackerjack Face/Off. Surly men in overcoats trudge through a nightscape with very busy meteorology: when it isn't pouring rain there are snowflakes everywhere, like the residue from an Olympian pillow fight. And down these gaudily monochromatic streets...