Klaus Hoffmann (Rick Okon), a young, inexperienced officer with a military hero father, is promoted to captain of U-162, much to the resentment of First Watch officer Karl Tennstedt (August Wittgenstein) and a crew loyal to the veteran officer.
Fifteen-year-old Nicola (Francesco Di Napoli) is a good kid in a bad situation. His Naples neighborhood is terrorized by gangsters and his single mother is barely holding on with the onerous protection money payments. So, this smart, ambitious kid organizes his buddies into a gang, appeals to the former neighborhood Don (now an outcast for turning informant) for weapons, and takes the neighborhood back.
We can thank Wonder Woman for the miniseries I Am the Night. Director Patty Jenkins not only connected with her star, Chris Pine, over the project, but Pine’s interest inspired a new character in the screenplay her husband, Sam Sheridan, was writing. The result is an “inspired by a true story” six-part TV-miniseries as dark and lurid as any fictional film noir.
India Eisley stars as Pat, a mixed-race high school girl in 1965 Nevada who discovers that everything her mother Jimmy Lee (Golden Brooks), a single, African-American woman, told her was a lie.
The Criterion Channel
The Columbia Noir Collection that headlined the launch of The Criterion Channel is now gone, along with a few other choice noir classics spotlighted a few months back, but a new selection has arrived in the past couple of months.
Did you miss On Dangerous Ground (1951) on TCM’s Noir Alley last month? Criterion has a beautiful edition of the film directed by Nicholas Ray and starring Ida Lupino and Robert Ryan. It’s part of Criterion’s “Director: Ida Lupino” spotlight (Lupino directed one scene, as Eddie Muller noted in his presentation), and starting July 24 the service will offer a new video introduction by NOIR CITY contributor Imogen Sara Smith.
When Hiroshi Shimizu released Japanese Girls at the Harbor in 1933, the veteran filmmaker had already made more than eighty-five films. When he died in 1966, he had at least 160 films to his credit in a thirty-five-year career, most of them made at Shochiku, also the home of his friend and colleague Yasujiro Ozu. In his time Shimizu was both a popular director and a respected filmmaker, but after his death he was practically forgotten, even in his home country. He was born in 1903, the same year as Ozu, yet after the glorious celebration of Ozu’s centenary with a near-complete touring retrospective in Japan, Shimizu received a belated “101st Anniversary” celebration at the 2004 Hong Kong International Film Festival, an afterthought, showcasing a mere thirteen films.
Why? Access is certainly a factor. Only a fraction of his films survive, even fewer are available on home video, and his work is rarely revived outside of Japan. Another reason may be a reputation that stuck as a director of light entertainment after his series of children’s films that he began making in the late 1930s. “Shimizu’s world is a sunny one, where the sadness of things only rarely intrudes,” wrote Alan Stanbrook after a 1988 retrospective at London’s National Film Theatre, the first to showcase the director in the West. And then there was the reductive public persona that remained long after the films receded from the public.
Kanopy is one of the best kept secrets of the streaming world. A free service available through most public and college libraries, it features a robust selection of American indies, foreign films, and educational programming. And thanks to deals with Criterion, Kino Lorber, the Cohen Film Collection, and other libraries, it has perhaps the most impressive line-up of classic and foreign cinema outside of The Criterion Channel. There is a catch, however; Kanopy restricts users to a limited number of items per month. That makes it a great supplementary service, but hardly a replacement for your subscription service(s) of choice. Given that, it is a great supplement to Netflix or Amazon or Hulu, which all favor contemporary over classic offerings. And when it comes to noir, it delivers the goods.
Let’s start with Sunset Boulevard (1950), the blackest of Hollywood’s self-portraits, starring Gloria Swanson as former silent-movie queen Norma Desmond and William Holden as a failed screenwriter with a mercenary streak. Billy Wilder makes his scabrous and acidic exposé of Hollywood’s living graveyards both ghoulish and tragic.
The great misconception of silent cinema is that it’s all about movies that lack the dimension of sound. It’s the idea of “lack” they get wrong. Apart from the oft-stated fact that silent cinema was never silent—from the biggest movie palaces to the smallest storefront theaters, the movies were always accompanied with music and often with sound effects—movies developed as a uniquely visual form of storytelling just as radio drama and comedy evolved into a sophisticated form of audio storytelling. Whether you believe it a purer from of cinema or an archaic one, silent movies offer a different kind of experience than sound cinema, one built on faces and physical performance to communicate character and emotion. Forget the cliché of outsized acting styles and simplistic situations plucked from slapstick farces and spoofs. There is a rich world and varied world in the silents, from surreal comedy to magnificent spectacle to adult drama, with performances both bold and nuanced.
That is the experience celebrated at the San Francisco Silent Film Festival, the biggest and greatest celebration of cinema before the talkies in the U.S. The 24th year of this annual event presented 23 features between May 1 through May 5 at the Castro Theater (“the Cathedral to Cinema,” as it was so described by the director of the National Film Archive of Japan, Hisashi Okajima), along with shorts and special presentations.
Disgraced private detective Roland Drake is on the verge of being evicted from his crummy little office—the glass door is scarred with tell-tale signs of a partner’s name haphazardly scraped off—when she slinks in. “She had a face that could launch a thousand ships and a body that would bring them back,” he monotones in voice-over. Played by actor/director/co-writer Tom Konkle with the hangdog presence of a born patsy, Drake has a bottle in the drawer, a fedora perched on his head, and an attitude that reaches for world-weary resignation.
That reach—like much of the film—exceeds Konkle’s grasp, but the ambition of Trouble is My Business is impressive.
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 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.
I just started a new monthly column for the Film Noir Foundation that searches out and showcases classic film noir available to stream. Here is the debut installment….
As any fan of classic movies seeking treasures on streaming services knows, it’s a wasteland out there. There are oases, of course, but at any given time there are fewer options for pre-1970 movies between the three major streaming services—Netflix, Amazon Prime Video, and Hulu—than you could find in your better neighborhood video stores twenty years ago.
Given that, there are some treasures to be found out there, especially on Prime Video. The problem is knowing what to look for. Since the shuttering of FilmStruck, there really isn’t a service that curates its catalog of classics (Kanopy, a free service offered from public and college libraries, is an exception). So, consider this your guide to streaming noir, and, for this inaugural installment, we’ll look at the options among the big three streamers.
Netflix is first in subscriber numbers but last in its commitment to classic movies. It does, however, currently feature a couple of noir classics. Many services offer a copy of Orson Welles’ The Stranger (1946), with Orson Welles as a Nazi war criminal in hiding and Edward G. Robinson as the government agent on his trail. Netflix, to its credit, presents the superb Kino Classics master, which is also streaming on Kanopy.