Edited by Don Malcolm on 3/26/2016, 3:39 pm
What isn't unusual is that it appears that much of what played at NC SF will not travel to LA. The audiences have proven to be quite different--only a small subset of noir fans who frequent the LA festival seem to be interested in foreign noir (though we saw a better chunk of these folks in our French series last year, which continues to make an argument that the French really did "have a name for it" and still manage to more effectively capture the imaginations of filmgoers).
Hence only a subset of the foreign noirs played at NC from 2014 on have screened in LA...and this year appears to be no exception, aside from LOS TALLOS AMARGOS, the restored Argentine noir that one presumes the FNF will be playing in most of their satellite venues throughout 2016.
Note that phrase "appears to be," because the curious thing is that the full schedule for NC LA seems to be emerging by degrees, as Universal is striking a series of new prints for obscurities in their back catalogue and it seems that the FNF is going to mostly feature these films.
Right now the schedule is only partially announced, and looks like this:
Friday April 15
LOS TALLOS AMARGOS/RIFFRAFF
You get that "Latin flavor" in this double bill, but CORNERED would be the best of those films to screen as the second feature.
Saturday April 16
ALL MY SONS/TAKE ONE FALSE STEP
Rare Universal noir starts here--we've discussed ALL MY SONS here before...a mildly interesting mell-noir with Edward G. Robinson and Burt Lancaster, sort of a warmup for HOUSE OF STRANGERS, which takes the theme further. Paired with TAKE ONE FALSE STEP, which is the type of toothy, journeyman noir that hangs together mostly due to the professionalism and familiarity of the people in front of the camera (William Powell, a pre-kvetchy Shelley Winters, Marsha Hunt, James Gleason, Sheldon Leonard). Note, though, that our late great friend Bill MacV was NOT a fan of this one.
Sunday April 17
Monday April 18
SIDE STREET/DR. BROADWAY
Mann. Anthony Mann. In solid, left-handed mode without John Alton, followed by "early Mann" (his second feature for Paramount) which shows the director's talent and energy, working around the less-than-dynamic MacDonald Carey (of whom it was said that he left his swagger on the stage and never found it on film).
Tuesday April 19
Wednesday April 20
Thursday April 21
Friday April 22
Newsletter readers were cautioned to check the Egyptian Theater calendar page for ongoing info...so we assume that there will be additional screenings on at least some of these nights. Stay tuned...this may be where some portion of NC 14 will be found. Or not.
Saturday April 23
It doesn't appear that there will be a screening this night, unless the currently scheduled 80s beach romp "classics" (WHERE THE BOYS ARE '84 and THE BEACH GIRLS) are going to be swapped out.
Sunday April 24
TOO LATE FOR TEARS
Following a reception to celebrate the DVD releases of two recent FNF restorations (TOO LATE and WOMAN ON THE RUN), Liz, Dan, Don, Kristine (RIP) and Arthur Kennedy will go through their paces again.
THE CAPTIVE CITY/BUY ME THAT TOWN
More rare Universal product. A double bill with another "Kefauver"-inspired noir (such as the still-MIA THE TURNING POINT) would make this a must-see, but the second feature is more Runyonesque formula fodder.
If we boiled down the "art of darkness" titles to fit into the direction we see here--meaning that we leave behind the foreign films--we have the following titles to choose from for the five possible dates:
THE PUBLIC EYE
THE DARK CORNER
CRACK-UP (no, not two Pat O'Brien films in the same festival...)
IN A LONELY PLACE
THE TWO MRS. CARROLLS
THE PICTURE OF DORIAN GREY
LOVE ME OR LEAVE ME
YOUNG MAN WITH A HORN
THE BAD AND THE BEAUTIFUL
THE BIG KNIFE
SPECTER OF THE ROSE
No reason to predict anything here, since there's a good chance that none of these will come into play given potential developments (there may well be more Universal product in the pipeline...), BUT:
--I think a double bill of SCREAMING MIMI/SPECTER OF THE ROSE would be...well, a scream.
What would be a nice way to fill the rest of this in, actually, would be to just show a whole bunch of Eddie G. noirs:
THE WOMAN IN THE WINDOW/SCARLET STREET
THE RED SHOES/NIGHT HAS A THOUSAND EYES
HOUSE OF STRANGERS/BLACK TUESDAY
THE GLASS WEB/VICE SQUAD
As we know, he could pretty much carry his own festival, but it would be worthwhile, now, wouldn't it, to highlight two of his best along with eight lesser-known but worthy titles. (Can't remember if NIGHT HAS A THOUSAND EYES has been shown in LA...it was in the Woolrich lineup in various venues last year.)