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Mildred Pierce

I Wake Up Streaming – April 2019

Amazon Prime Video

Amazon Prime Video is now streaming Charles Laughton’s great American gothic noir The Night of the Hunter (1955) starring Robert Mitchum in a fire and brimstone performance as a demonic con man in preacher man’s robes. It’s one of the most beautiful pastoral nightmares the cinema has seen.

Hulu

Hulu presents Karyn Kusama’s hard-edged Destroyer (2018, R), a neo-noir crime thriller with a sun-blasted look and a ferocious performance by Nicole Kidman as a damaged police detective (reviewed by Kelly Vance on Noir Now Playing here).

Presenting The Criterion Channel

Just four months after FilmStruck, the film-lover’s streaming service created by Criterion, TCM, and Warner Bros., ceased operations, The Criterion Channel rose from its ashes as a stand-alone service. Where FilmStruck had the mighty Warner Bros. catalog to draw from (at least for the final eight months of its existence), The Criterion Channel is built on the foundation of the Janus film catalog (home to hundreds of classics from Bergman, Chaplin, Kie?lowski, Kurosawa, Melville, Ozu, Truffaut, Rossellini, and Welles, among many others) and supplemented with film packages licensed from other studios and distributors.

The Criterion Channel launched on April 8 with over 1500 features and short films (as well as original programs and supplements from the disc special editions) in its catalog. 

Continue reading at The Film Noir Foundation

Blu-ray/DVD: ‘Mildred Pierce’ on Criterion

Is Mildred Pierce (1945) (Criterion, Blu-ray, DVD) film noir or melodrama? I say why choose? Film noir is almost entirely associated with crime stories and life in the shadows and at night in the city and sure enough Mildred Pierce, based on the novel by James M. Cain, opens with death and darkness and the twilight of the soul. But there’s a subset of noir rooted in melodrama or the women’s pictures, as they were called in the 1940s and 1950s, films about the lives of women as they reach for their American dream, or at least the one promised them in love, marriage, and family. Mildred Pierce offers both, almost as two separate films that converge in the final act

Criterion

It opens squarely in film noir territory (not that there is anything square and simple in noir), with a point blank murder and grotesque dying convulsions of a man who, even at first glance, convinces us he’s an oily, unclean manipulator who surely earned his terrible death. It’s Zachary Scott in a lounge lizard mustache playing his trademark gigolo with weasely insincerity—almost too perfect for our opening victim. We’ll get back to the corpse but first we leave the beach house scene of the crime for a seedy part of the boardwalk and a woman in fur (Joan Crawford) gripping the rail with every indication of a suicidal plunge into the surf. There’s a gaudily colorful bar with a Polynesian theme owned by Jack Carson, appropriately attired in a white tux that screams new money and no taste especially next to the elegance of Crawford, a nightcap, and what appears to be a neat little frame for murder that sweeps all of our characters into the police station for questioning.

You don’t think of Michael Curtiz, the great house director of Warner Bros. spectacles and prestige pictures, as one of the great noir directors but the opening twenty minutes or so is a master class in film noir directing, in part thanks to stunning nocturnal images by cinematography Ernest Haller (his work earned an Oscar nomination, one of six that the film racked up).

Continue reading at Stream On Demand