Posted in: by Richard T. Jameson, by Robert C. Cumbow, by Sean Axmaker, Contributors, Film Festivals, Film Noir

Noir City Seattle 2017 – Film by Film

Noir City 2017 is titled “The Big Knockover” and the theme is heists: big, small, and inevitably doomed. It kicked off Thursday, February 16 with John Huston’s The Asphalt Jungle (1950), the godfather of the heist film, and Criss Cross (1949), the darkest, most truly noir-ish heist film ever.

I wrote a preview for The Stranger this week but I and other Parallax View critics have covered a number of these films in past reviews and essays. So here some capsules and notes on the films of this year’s festival, many by me, with links to longer pieces where available.

All screenings at SIFF Cinema Egyptian.

Thursday, February 16

The Asphalt Jungle (1950) – 7:00 PM
“Even as the perfect crime collapses in betrayal and the irrational impulses of human nature, The Asphalt Jungle is a model of elegant construction, street-level tragedy, and poetic justice, a film that both embraces the romance of the criminal code and acknowledges the mercenary impulses of outsiders and upstarts who have no code.” – More from Sean Axmaker for Stream On Demand

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Posted in: by Sean Axmaker, Contributors, Film Festivals, Film Noir

Noir City 2017 Highlights Heists and Favors Risk Over Genre Purity

Throughout the years of Noir City’s Seattle residency, the programming has taken brief detours from the mean streets of hardcore noir to explore side alleys, from early influences on noir to noir influences on other genres. The 2017 festival, which runs February 16-22 and is the biggest to date (20 films in seven days), takes more leeway than usual for “The Big Knockover,” a week of capers, heists, and holdups. A lot of the films don’t qualify as pure noir. The heist genre occupies its own corner of the crime movie universe, sometimes embracing the dark heart of film noir’s world of corruption and desperation and doom, just as often skipping into lighthearted crime comedy or slipping into cool, calculated caper spectacle. You could say that the heist film is the original antihero team endeavor, the supervillain squad combining their unique skills to a common cause—in this case, the impossible robbery. This is one of those times when we root for the bad guys.

Most of the time, anyway.

John Huston essentially launched the heist drama as a genre of its own with The Asphalt Jungle (1950). Constructed around the meticulous planning and execution of a caper, it transformed the crime drama into a mission movie featuring shady soldiers of the urban underworld: mercenaries seeking redemption through one last gamble of action, trust, talent, and sacrifice. It’s a model of elegant construction, street-level tragedy, and poetic justice, with Huston’s wry fatalism providing the noir sensibility.

Continue reading at The Stranger