magic-of-cinema:

D.O.A. 1950 / Rudolph Maté

magic-of-cinema:

D.O.A. 1950 / Rudolph Maté

Reblogged from ikaristwin with 22 notes / 31.08.14 / Permalink /

perfectframes:

THE BLACK DAHLIA / 2006 / BRIAN DE PALMA

Reblogged from perfectframes with 12 notes / 27.08.14 / Permalink /

garethsimms:

Scattered frames from Kiss Me Deadly (Robert Aldrich, 1955)

    one of the most stylistically idiosyncratic films i’ve seen

Reblogged from ikaristwin with 107 notes / 26.08.14 / Permalink /

Sunset Blvd. was released on this day in 1950!

Noirvember 5 is coming…

wednesdaydreams:

Personally, Veda’s convinced me that alligators have the right idea. They eat their young.

Mildred Pierce (1945), Michael Curtiz

Reblogged from thenormadesmond with 806 notes / 20.06.14 / Permalink /
Noirvember's mascot Mr. Rochester is sick and needs your help! Detail here —-> http://www.gofundme.com/Help-Mr-Rochester
 

Noirvember's mascot Mr. Rochester is sick and needs your help! Detail here —-> http://www.gofundme.com/Help-Mr-Rochester

 

memoriastoica:

New Orleans Noir in Panic in the Streets (1950)

Reblogged from larsvonbeer with 180 notes / 06.06.14 / Permalink /

farleysgranger:

125th Annual Clifton Webb Birthday Jamboree: A Celebration of Queer Old Hollywood

The thugs Mingo and Fante, two models of historicized latency at the edge of representation and beyond, are as fascinating as they are plausibly iconic. Mingo and Fante arguably have the strongest romantic relationship in The Big Combo. They are openly devoted to each other, share a bedroom, and are almost always in the same shot. In their ‘hideaway,’ Mingo longingly expresses his feelings to Fante when he declares, ‘Let’s never come back,’ and suggests they run off together. Fante, the more solidly ‘butch’ of the two partners, proves his fidelity to Mingo when he presses McClure to pay not only him but Mingo as well for the pleasure of beating Lieutenant Diamond before Brown arrives.

"They will kill, torture, and even die together, although Mingo outlasts Fante when the bomb left by Brown to dispose of them after they serve their function explodes. In a morgue-like setting, when Lieutenant Diamond begins to press Mingo for information, the policeman reveals Fante’s mutilated, dynamited body, literally, what is left of Fante’s head and face, to a severely wounded Mingo, who cries and becomes almost hysterical. This is the one true expression of love and loss in the film

Director Lewis’s linkage of Mingo and Fante’s personal pleasure at a show of violence, although the product of a corporate decision, generates some expression of revenge against a system that would label them as sexual subversives… [Rose] Capp adds that Lewis correlated man’s violent and sexual obsessions in The Big Combo: ‘Lewis makes clear that The Big Combo is as much concerned with the dynamics of power, money and sexuality, as with the nexus between business, crime and forces of law and order.’ Fante and Mingo offer a paradoxical parallel that laces Lewis’s film with a radical political statement about homosexuality and gender politics in premodern Hollywood cinema: two gay men can experience a healthy relationship.”

– Gary D. Rhodes on The Big Combo (1955)

(Source: joelmccrea)

Reblogged from wherearewedamfino with 155 notes / 26.05.14 / Permalink /
Noirvember 5 is coming! Click here for a little more info —-> https://www.facebook.com/Noirvember/info

Noirvember 5 is coming! Click here for a little more info —-> https://www.facebook.com/Noirvember/info

65 notes / 18.05.14 / Permalink /