Word: noirs
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Dates: during 1990-1999
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...part of the same conglomerate that owns CNN (and TIME). As a stuffy journalist, I can only hope that the discontent with the "blurring" of news and entertainment might also take root in the world of prime-time news programming, in which dramatic music, hyped-up promos and film-noir lighting techniques are multiplying like hostile extraterrestrials...
That film's director, Charles Laughton, thought he was "one of the best actors in the world." Like Huston, Laughton saw beneath Mitchum's surpassing cool the heat of an often disappointed perfectionist. In his signature role, the private eye in the classic film noir Out of the Past, Mitchum grimly accepts doom as the price of sexual obsession and lights his passage to it with flaring wisecracks. "I don't want to die," his inamorata cries. "Neither do I, baby," Mitchum snaps. "But if I have to, I'm gonna die last." As inadvertent epitaphs go, it's pretty...
...glamour." After a best supporting actor nomination in 1945 for "The Story of G.I. Joe," Mitchum hit the A-list and worked constantly, starring in over 100 films, including "Cape Fear," "River of No Return," and "Ryan's Daughter." In all of them, he was Mitchum, from the film noir shadow-dwelling of his early stardom ("Out of the Past," "Where Danger Lives") to drama ("The Night of the Hunter") and western ("El Dorado" opposite a laconic John Wayne). He was Mitchum even on television's "The Winds of War," and he was Mitchum to the end, appearing...
...also got momentum: besides his role as a nature photographer in The Lost World, he stars in the forthcoming neo-noir drama The Locusts (opposite, coincidentally, Spielberg's wife Kate Capshaw), and is filming the comedy Clay Pigeons (with Janeane Garofalo). "The reason I've scheduled all these movies in a row is that I don't know how long this window of opportunity will last," says Vaughn. "While the opportunity is here, I want to take advantage of it." Don't sweat it, baby, the word's out: everybody knows you're money...
Daulne, 32, has a sad, splintery voice and an emotional clock that seems permanently set at midnight. Her background singers, harmonizing, chanting, even bleating, provide her with a vocal backdrop that's by turns naturalistic and a little coy. One song, the jazzy Nostalgie Amoureuse, feels like vocal film noir--shadowy and mysterious until, toward the end, Daulne's voice emerges from the mix with bruised passion. Other songs, like African Sunset, draw deftly on the upbeat music of South Africa's townships. But the best song is Daulne's seductive cover of Phoebe Snow's Poetry Man; that song...