by Tony d’Ambra
Hollywood b-movies are a treasure trove of haunting images as arresting and poetic as any in cinema. For this reason alone they must be preserved.
The efforts of the Film Noir Foundation (FNF) in film noir preservation and restoration are to be applauded and supported, but let me be frank, it is the Studios that should be forking out the big money here. It is a scandal that the custodians of this patrimony have presided over a criminal neglect of their archives, and do not make any ongoing public commitment to contribute to a public fund for preservation. In recent years the FNF screened a pristine print of a noir from a studio archive, and when the FNF asked to re-screen the movie, the studio reported it had been lost. Only in the last month, many Hollywood films from the silent era lost or destroyed by the Studios, have been released from Russian archives, where they have been meticulously preserved since the Russian revolution. Go figure! LA is awash with cash – some should be directed to preserving film noir history.
These film noir frames are all from Hollywood b’s:
Detour 1945
Stranger on the Third Floor 1940
When Strangers Marry 1944
The Set-Up 1949
The Killer that Stalked New York 1950
The Gangster 1947
The Face Behind the Mask 1941
The Big Combo 1955
The Amazing Mr X
The Seventh Victim 1943
Suspense 1946
Side Street 1950
Shock 1946
Roadblock 1951
Raw Deal 1942
Nora Prentiss 1947
Lucky Nick Cain 1950
I Wake Up Screaming 1941
High Wall 1946
He Walked By Night 1948
Desperate 1947
Note: Tony d’Ambra’s pointed commentary and exquisite screen cap display is in conjunction with the noble fundraising project presently ongoing at Ferdy-on-Films, Cinema Styles and the Self-Styled Siren.
This delectable screen cap display makes me want to load my DVD player with a good number of these immediately. Tony’s work in assembling these is only a fraction of what he has done for the film noir community, which frankly is more than any single person. Wrought out of tireless commitment for almost four years, he has examined the form from every scholarly angle while simultaneously imparting to many the discipline and enthusiasm to partake in their own studies. While his archives remain the definitive home for all devout noirists, one can be thankful further for his scrutiny, which has always kept things in the proper perspective, without the fear of overestimation. His commentary here should not fall on deaf ears either, as the studios first and foremost should be chipping in, irregardless of the magnificent work by our esteemed trio.
Thanks Sam. I don’t know about ‘definitive’, but I hope my sharing my obsession has made at least a small contribution to a wider appreciation of film noir. My only disappointment has been the stoney silence from the noir establishment – it is indeed ironic that the czars of noir have no time for an outsider.
I’m happy to see The Big Combo and The Seventh Victim among this line-up. It would definitely be nice if the studio got off their rumps and got actively involved.
Fred, I am particularly thrilled to see THE SEVENTH VICTIM highlighted here. Lewton has always been my man.
Sam I always looked at The Seventh Victim as more noir than horror.
The efforts of the Film Noir Foundation (FNF) in film noir preservation and restoration are to be applauded and supported, but let me be frank, it is the Studios that should be forking out the big money here. It is a scandal that the custodians of this patrimony have presided over a criminal neglect of their archives, and do not make any ongoing public commitment to contribute to a public fund for preservation.
Ah glorious Hollywood… they’ve learned from the conservative party ethos: make the public pay for privatized gains.
Really dynamite collection here, I’m happy it appears you gotten to THE GANGSTER, not only one of my favorite B-Noirs I’ve ever seen, but one of my favorite American films. Did you write about that one? I’d like to check it out.
Yes Jamie, I caught up with The Gangster after you mentioned your liking for it. This is one of the reasons I have not tackled a countdown – there are still movies I need to see. I have yet to tackle a review of this one.
The Gangster is one hell of a b-movie – a very dark noir opera if you will which is mistakenly viewed by critics as overwrought, but is really one of the most brutal critiques of the ‘entrepreneurial spirit’. Dalton Trumbo’s bravado script is more than matched by the spirited direction of Gordon Wiles and moody lensing of Paul Ivano. A must-see.
It was brought to light to me by one of those ‘Noir’ series books by Alan Silver or whatever. One essay was more pointed then normal, like ‘Existentialism in Noir’ and all the films referenced in it I had seen except that one… so I tracked it down on VHS (form Amazon for like 20 bucks) and it just blew me away. The end is so philosophical and nihilistic, which says a lot because this is sort of par for the course in the genre.
That and the racially tinged idea with a lead character that adorns his flat with modern art. Just sublime
Detour would normally be here, but I remember Mr. d’Ambra said under Maurizio Roca’s review that he wasn’t a big fan. It’s a formidable line-up, and I’ve seen most.
The worthy fundraising efforts can only go so far. I agree that there must be a concerted effort from those who are able to make sizable investments.
Frank, I have remedied this omission by adding a screen cap from Detour. While I see flaws in Detour, it still is a brilliant example of the craft found in b-movies.
Unfortunately the studios are barely able to bring out product on DVD, much less subsidize the resurrection of decaying prints of films left on the back burner. And with the current state of the economy this is unlikely to change anytime soon. I agree that a fundraiser is primarily effective in bringing attention to the support needed, but the funding will need far more than just a shot in the arm. I think Mr. d’Ambra knows too that the cause may be hopeless (at least in the extent of the efforts) but is still there in spirit.
Peter, it may be a lost cause, and who is going to listen to me anyway. But Hollywood studios squander hundreds of millions of dollars a year producing garbage, and the big names are obscenely rich. The money is there – the recession sadly is for losers.
There are no easy solutions to this. If the Government was petition and the studios had to restore their archives, they would start to burn the films before the pending legislation. The only things that might work is to do a cost-to-return breakdown for them. Adding the revenue to come back via dvd, blu-ray, film package sales to broadcasters and niche channels, and printing to order. A one time cost versus the perpetual return to come back. The way film is declining, rotting into vinegar, it’s beyond belief. But then Corporations are psychopaths.
Yeah the majors want to have the excuse of ‘the economy’ or the ‘sagging film industry’, but the fact remains that had they run tight, efficient ships all along they could weather dry spells. Instead the execs live high-on-hog pretty much whatever the economy is and whatever their sales are.
It’s the age old problem, they count pennies as whole dollars are being ripped from their back pockets. Digitizing films is nothing, and once you do you never have to think about it again.
Film is like history. We should preserve as much as possible. The fact that Russia has taken better care of our cinematic endeavors then the major studios is shameful. A small part of the root problem causing the USA’s steady decline can be traced directly with this development. Profit over everything else….
Great screen caps Tony. Looking at each still makes me want to go on another noir binge. The truth about the studios is that if a movie doesn’t make Casablanca/Oz money, they could care less about it’s existence. How many times must we all be treated to the same Hitchcock films being reissued and remastered. Criminal neglect of archives is shameful.
Hi! Tony…
Tony said,”The efforts of the Film Noir Foundation (FNF) in film noir preservation and restoration are to be applauded and supported, but let me be frank, it is the Studios that should be forking out the big money here…”
I agree wholeheartedly, with your former comment and the latter half Of your comment too… By the way, Very nice screen captures too!
Hmmm…Lucky Nick Cain 1950 and RoadBlock…I have never watched these films…Therefore, I will seek them out to add to my Film noir list too!
Tony,
Thanks, for your contribution to the For The Love Of Film Noir blogathon… it “resolute” and quiet, but yet it speak volumes.
DeeDee