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6282	dbpedia	0	87	http://www.radiospirits.info/category/whistler/	en	Radio Spirits			[ "http://www.radiospirits.com/images10/rs_logo_header09.gif", "http://radiospirits.com/images10/spacer.gif", "http://www.radiospirits.com/images10/spacer.gif", "http://www.radiospirits.com/images10/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images/spacer.gif", "http://www.radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images10/spec_off_codes.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images10/browse_category.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images10/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images10/shopping_services.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images10/footerbg.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images/spacer.gif", "http://radiospirits.com/images10/RadioSpirits_blue.gif" ]	[]	[]	[ "" ]	null	[]	null		en			null	Two of the entries in Columbia’s Whistler franchise (based on the popular CBS Radio West Coast mystery program) rarely turn up in the rotation when the film series is shown on Turner Classic Movies. This is a shame, because the first of these—1944’s The Mark of the Whistler—comes close to rivaling the debut movie, The […] On a night that’s raining felines and canines, Theodore “Ted” Nichols (Michael Duane) and his French fiancée Alice Dupres Barkley (Lenore Aubert) reach the home of the justice of the peace who’s going to join them in holy matrimony…even though they have only known each other for a couple of weeks. The justice’s wife (Sarah Padden) […] In the sixth entry of Columbia’s popular Whistler film franchise—based on the CBS West Coast mystery program sponsored by Signal Oil—series star Richard Dix essays the role of Ralph Harrison, a talentless artist disdained by most of his friends. He is invariably the life of the party, however, on account of the lavish get-togethers he often throws (as […] Mysterious Intruder (1946), the fifth entry in Columbia Pictures’ highly successful Whistler franchise, would be the last film of that series directed by William Castle, who had kicked off the first of eight Whistler B-films with The Whistler (1944). During his sojourn at the studio, Castle would alternate between Whistler movies and Crime Doctor vehicles, […] Voice of the Whistler (1945), the fourth entry in Columbia’s popular B-movie series based on the CBS West Coast radio show, marked the return of future schlock director William Castle to the franchise; Castle directed the first two Whistler films before handing over the reins to Lew Landers for The Power of the Whistler (1945), […] The omnipresent narrator (Otto Forrest) known as The Whistler introduces us to a “strange man” (Richard Dix) identified as “William Everest” as the third film in Columbia’s Whistler series unspools. Everest, an individual seemingly on a mission, narrowly misses being hit by an automobile and, stumbling back to the curb for safety, hits his head […] It would be no small exaggeration to suggest that more old-time radio fans listen to The Whistler today than did audiences during the series’ original CBS network radio run from May 16, 1942 to September 22, 1955. It wasn’t because the mystery drama lacked for popularity—it’s just that with just one or two exceptions, the program […]
6282	dbpedia	0	68	https://www.nationalobserver.com/2023/11/30/reviews/movies-leonard-bernstein-revealed-maestro-eddie-murphys-first-christmas-movie-and	en	MOVIES: Leonard Bernstein revealed in Maestro, Eddie Murphy's first Christmas movie and a peek into the Whistler Film Festival	https://www.nationalobse…0_conducts_4.jpg	https://www.nationalobse…0_conducts_4.jpg	[ "https://www.nationalobserver.com/themes/custom/cno/images/no_logos/logo_header.svg", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/maestro_1000_conducts_4.jpg?itok=Rqzghk8t", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/maestro_1000_2sitcrop.jpg?itok=Kd1UmiAC", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/south_to_black_1000_asiaha_butler.jpg?itok=0YT-tWN0", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/candy_cane_lane_1000_swans.jpg?itok=86gUkBa3", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/finality_of_dusk_two-skulk600.jpg?itok=ahWFQq47", "https://www.nationalobserver.com/sites/default/files/styles/scale_width_lg_1x/public/img/2023/11/30/burning_season_2fire_600.jpg?itok=zzcRNR9j", "https://www.nationalobserver.com/themes/custom/cno/images/awards/caj.svg", "https://www.nationalobserver.com/themes/custom/cno/images/awards/michener.png", "https://www.nationalobserver.com/themes/custom/cno/images/awards/nna.webp", "https://www.nationalobserver.com/themes/custom/cno/images/awards/cfj.webp", "https://www.nationalobserver.com/themes/custom/cno/images/no_logos/logo_footer.svg", "https://www.nationalobserver.com/themes/custom/cno/images/misc/qr/ios_app_store_qr.min.png", "https://www.nationalobserver.com/themes/custom/cno/images/misc/qr/google_play_qr.min.png", "https://www.nationalobserver.com/themes/custom/cno/images/misc/Trust-Logo-Horizontal-White.svg" ]	[]	[]	[ "" ]	null	[ "Volkmar Richter" ]	2023-11-30T00:00:00	Also an unusual road to better race relations in the U.S.	en	/themes/custom/cno/favicon.ico	Canada's National Observer	https://www.nationalobserver.com/2023/11/30/reviews/movies-leonard-bernstein-revealed-maestro-eddie-murphys-first-christmas-movie-and	The Burning Season (WFF): 2 ½ MAESTRO: This one is rare, for a number of reasons. It shows us much more than most of us ever knew about Leonard Bernstein. Symphony conductor, recordings, those young people's concerts on TV, and writing music for shows like West Side Story. Those I knew, and incidentally they're all downplayed in this film. Instead we get a portrait of a tempestuous marriage brilliantly played by Bradley Cooper (who is also director and co-writer) and Carey Mulligan in a tremendous performance as his wife. He had other lovers, of both genders. She's late to realize that and in a highly emotional speech of self-reflection asks what she did wrong. “Who was lying to who?” Cooper expertly develops the story towards that point. At the start, Bernstein gets a phone call to fill in for an ailing conductor. He's sensational in concert and even a bit flamboyant, a master showman, exultant as he conducts. Mulligan as a young actress who propels herself into his life is just as impressive. As the wife she comes to boil with jealousy. Their story becomes a common melodrama but is bouyed by sharp writing, superb acting and imaginative direction. Several times scenes bleed into the next to move things along. Open a window and the New York skyline spreads out before you. In other words, Bernstein's future, pointed to succinctly. And vibrant concert sequences confirm it. This is only Cooper's second film as director, after A Star Is Born, proving that he's not a one-hit wonder. Expect nominations for him and both of his stars. (In theaters in Toronto and Vancouver now, more cities next week and on Netflix in three weeks) 4 out of 5 SOUTH TO BLACK POWER: Here's an intriguing idea from writer Charles M. Blow on how to improve race relations in the U.S. Enable Blacks to have more control of their lives by giving them more say in how they are governed. How? Reverse migration. Encourage them to move back south from where their ancestors migrated starting over 100 years ago. States like Mississippi, Louisiana and Georgia already have Blacks making up over 30% of the population. Increase that and you've got Black Power, which some people fear because they equate it with white supremacy Not so, he wrote in a newspaper article and then a book. In the film he travels through the south hearing local activists explain what is needed. An historian tells how whites have managed to keep control of political power. Advocates lead groups in select cities, several of which are already “bathed in black power.” They need to extend it to the state level. As Blow puts it, Blacks have to forgo the “pleading and begging and marching” and “go right to power.” He himself moved south, to Atlanta, and reports there is already a small reverse migration. People feel safe and “a creeping equality” is forming. The Black middle class is thriving. He visits his old hometown and his relatives. And amply gets across that he feels at home. (An HBO documentary streaming on CRAVE) 3½ out of 5 CANDY CANE LANE: Got some time to waste this holiday season? This silly comedy will do and it stars the ever-welcome Eddie Murphy, in what I'm surprised to read is his first ever Christmas movie. It takes the competition to outdo the neighbors with Christmas light displays to extreme lengths. But the writer, Kelly Younger, apparently drew on reality from the California town where he grew up. So, Murphy wants to beat his neighbor with his display, and, because he's just been laid off from his job and a cable-access TV show is offering a $100,000 prize, he's driven. He discovers a pop-up store under a highway overpass that has an answer. Jillian Bell, trying too hard but funny, sells him a tall mockup shaped like a tree featuring all the characters from the “Twelve Days of Christmas.” She cautions to read the fine print; he says nobody does that and the story kicks on. The characters from the song materialize for real, some disappear and he learns what was really going on at the store. He's now under a curse and has to find five golden rings. Or he becomes like the “little Christmas people,” tiny figures who spoke to him at the store. Their leader is played by Nick Offerman. The film has some laughs and very good art direction but only very ordinary ingenuity. It's Murphy's first with director Reginald Hudlin since Boomerang, 30 years ago. (steaming on Prime Video) 2 ½ out of 5 FINALITY OF DUSK: I wasn't always sure what was going on here or what the title means, but this film is so well-made and acted that I found it absolutely engrossing. I guess there's a climate change aspect to it because it takes place about 20 years from now after environmental devastation has destroyed lives. We only see a few wandering through a wasteland, having to wear masks that protect them from the toxic air. They are alerted to change the filter regularly and sometimes switch masks to avoid “respiratory failure.” If they need help, they can visit a centre, which we don't see because they don't go there. We never find out how things became like that, how much else still exists nor what those creatures are that we hear howling now and then. What we do get is a struggle to survive by two women. Ishkode is an Ojibway played by Marika Sila an actor from Yellowknife and also a star on Instagram and Tik Tok. With her is Niife, an immigrant from Nigeria played by Cherrel Holder who was born in Trinidad. They can't talk because “they'll hear you.” They converse in sign language. Pursuing them is a man who wants their masks. He's played by deaf activist Chris Dodd. Eventually his motivations are made clear and they go beyond the gun-shooting assailant he seems to be. For now there's tension and fear, well-conjured up by director and co-writer Madison Thomas. She's part Indigenous also, based in Manitoba where she made this film. (It had its Canadian premiere at Whistler last night, screens again tonight and then is available online starting Monday) 3½ out of 5 THE BURNING SEASON: This is a world premiere at Whistler and especially interesting to watch because it is told backwards. It starts with Chapter 7 and works all the way down to a prologue. It sounds too clever but director Sean Garrity and writers Jonas Chernick and Diana Frances make it work. Chernick also stars as one of four friends (two couples) who every summer meet at a resort somewhere in Ontario cottage country. They seem to have resentments, which we gradually learn about as the film digs back to previous summers. It's artificial, but also an unravelling mystery. Chernick is J.B. who runs the place; Tanisha Thammavongsa is Poppy, who works there. The film opens with their wedding. Sara Canning and Joe Pingue are a couple who took some time to get together, as we gradually discover from earlier years. We also discover that she carried on an affair with J.B. over several summers and the feelings between them are still there. Can they keep it secret? There's tension there, but also some gimmickry. And some perplexing details that arrive in the very early years (i.e. late in the film) and feel awkward. The acting is good though, and the story moves along well, so half a praise from me. (Whistler Film Festival tonight) 2 ½ out of 5
6282	dbpedia	3	85	https://www.thenationalnews.com/arts-culture/film-tv/2024/08/05/trap-film-review-shyamalan/	en	Trap spoiler review: Twist ending explains what emotional thriller is really about	https://thenational-the-…=1200&height=630	https://thenational-the-…=1200&height=630	[ "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/Q4ZXLTI6AGPASQZS7BHT3KHUBA.jpg?smart=true&auth=3ee6d69161741a0f1bcd3635820172648185dea9ec5bd8050425ec13d6088363&width=400&height=225", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/https%3A%2F%2Fs3.amazonaws.com%2Farc-authors%2Fthenational%2F7d9eb3d6-0e78-49df-b951-68a5146f3230.png?smart=true&auth=f0b5cac7cbae79e6940da4ca12f720c397c3ca2217f3dce5ed072554356f7850&width=70&height=70", "https://thenational-the-national-prod.cdn.arcpublishing.com/resizer/v2/TUOL2JFIU5AC7JTFEFTDAPWG5Y.jpg?smart=true&auth=750bae518215df0172bf31dba20761b32bfb332a42f375ff3ad4ae3c20df525a&width=200&height=200" ]	[]	[]	[ "" ]	null	[ "William Mullally" ]	2024-08-05T00:00:00	Director M Night Shyamalan's latest blockbuster is his most personal work to date, and fatherhood is at its core	en	/pf/resources/favicon.jpeg?d=771	The National	https://www.thenationalnews.com/arts-culture/film-tv/2024/08/06/trap-movie-review-twist-ending/	The Arts Edit A guide to arts and culture, from a Middle Eastern perspective
6282	dbpedia	0	29	https://www.amazon.com/WHISTLER-FILMS-COLLECTION-DVD-MOVIES/dp/B00DZ48IH0	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/twhhswbk/Captcha_ljswxjihqv.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=G5CRB7CBTPE2JBXN4EEX&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
6282	dbpedia	3	9	https://www.ign.com/articles/best-mystery-movies	en	The 13 Best Mystery Movies of All Time	https://assets-prd.ignim…3.jpg?width=1280	https://assets-prd.ignim…3.jpg?width=1280	[ "https://cdn.ziffstatic.com/adchoices/adchoices.png", "https://oyster.ignimgs.com/social/avatars/users/111418740.jpg?crop=1%3A1&width=21", "https://assets-prd.ignimgs.com/2022/12/20/mystery-2-1671560436077.jpg?width=888&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/20/ko-via-mpaa-1671560480827.jpg?width=158&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/20/141215-r25902-1671560476362.jpg?width=158&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/20/22-themaltesefalcon-1440x810-1280x720-1671560476362.jpg?width=158&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/20/56c67-rearwindow1-1671560469447.jpg?width=158&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/20/wqe-1671560463949.jpg?width=158&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/16/ko-via-mpaa-1671210511246.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/141215-r25902-1671481077895.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/22-themaltesefalcon-1440x810-1280x720-1671481062937.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/56c67-rearwindow1-1671481281689.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/wqe-1671481403950.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/chinatown-1280x720-1671481459666.png?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/maxresdefault-2-1671481496192.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/c2mtekpvwb0zdezo6j96ifpk59w-1671481680297.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/clue-1985-wtf-happened-to-this-horror-movie-featured-1280x720-1671481708597.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/sdr-1671481987761.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/yt-1671482029661.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/12/19/la-confidential-sequel-1280x720-1671482209782.jpg?width=1280&fit=bounds&height=720&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/15/en-esrb-egs-key-art-1723748107777.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/07/blackmythwukongfinaltrailer-ign-blogroll-1723064389235.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets1.ignimgs.com/2020/03/31/call-of-duty-modern-warfare-2-campaign-remastered---screen-2-1585677001593.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/15/maddennfl25-blogroll-1723761307060.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/15/alienblogroll-1723730793101.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/03/dress-to-impress-codes-dti-1722716951847.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2024/08/14/alien-r-blogroll-1723659211766.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05", "https://assets-prd.ignimgs.com/2022/06/09/x-men-thumbnail-1654735362344.jpg?width=282&crop=16%3A9&quality=20&dpr=0.05" ]	[]	[]	[ "" ]	null	[ "Matt Fowler" ]	2023-12-18T14:30:00+00:00	Hitchcock, Fincher, Nolan, and more. Let these twisty thrillers take you for a ride -- these are the best mystery movies out there.	en	https://kraken.ignimgs.com/favicon.ico	IGN	https://www.ign.com/articles/best-mystery-movies	Whether you're in the mood for a straight-forward whodunnit murder mystery film or craving a far-reaching conspiracy with huge societal ramifications, we've narrowed down a list of some of the best mystery movies of all time. With directors Kenneth Branagh and Rian Johnson bringing the genre back to life in multiplexes in a big way (and Glass Onion landing on Netflix), we're taking a look at some true classics. Whether it's Alfred Hitchcock, David Fincher, John Huston, or Christopher Nolan, we've got just about every era covered - from film noir to modern thrillers. Shootings, stabbings, poisonings... they all must be avenged. And these films present some of the greatest mystery movies of all time. Knives Out (2019) Where to Watch: Rentable on most platforms. Rian Johnson's star-studded, old-school murder mystery was filled with diabolical performances and crafty twists and turns. Daniel Craig landed his second franchise here (as Glass Onion: A Knives Out Mystery lands on Netflix) as inquisitive puzzle-solver Benoit Blanc, a Southern sleuth called in to investigate the death of a wealthy mystery writer (Christopher Plummer). Standing in his way is... well, the author's nefarious family and also his nurse, Marta (Ana de Armas), who's afraid she might be found guilty of a wrongful death. Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, and LaKeith Stanfield also star. Read our review of Knives Out or check out more Chis Evans movies. The Big Sleep (1946) Where to Watch: DirecTV, TCM, or rentable on most platforms. A pinnacle of the film noir era, The Big Sleep from 1946 is the famed adaptation of Raymond Chandler's hardboiled crime novel featuring Humphrey Bogart as private detective Philip Marlowe. It helped set the blueprint for gumshoes getting sucked into labyrinthine conspiracies and facing foes they have no true chance of beating. At the time too, America had "Bogie and Bacall" (as in co-star Lauren Bacall) fever, as the two had just gotten married the year before. Their chemistry is to die for. The Maltese Falcon (1941) Where to Watch: Max or rentable on most platforms. Just a few years before The Big Sleep, the legendary John Huston wrote and directed this adaptation of Dashiell Hammett's The Maltese Falcon. This classic mystery has it all: Humphrey Bogart as San Fransisco private detective Sam Spade, Mary Astor as his femme fatale client, and a rogue's gallery of unscrupulous characters. Gladys George, Peter Lorre and Sydney Greenstreet co-star in what's considered to be one of the best films of all time. Rear Window (1954) Where to Watch: Rentable on most platforms. This list could easily be dominated by "Master of Suspense" Alfred Hitchcock's films, so for brevity's sake we've chosen Rear Window as one of the director's best murder mystery thrillers to represent the Hitchcock spot. Rear Window features a knockout gimmick, fun performances by Jimmy Stewart and Grace Kelly, and the director's own trademark sinister style. It, like a handful of movies on this list, is considered an all-timer. Murder on the Orient Express (1974) / Death on the Nile (1978) Where to Watch: (Orient Express) Fubo, Hoopla, or rentable on most platforms. (Death on the Nile) Hoopla, Roku (w/ ads), Pluto TV (w/ ads), Tubi (w/ ads), Freevee (w/ ads), Shout TV, Plex, or rentable on most platforms. You could watch Kenneth Branagh's new versions of Murder on the Orient Express and Death on the Nile (and then A Haunting in Venice when it hits theaters in September 2023) or you can watch these superb '70s versions of two of Agatha Christie's best Hercule Poirot mysteries. It's your call, really. Christie is one of the best mystery writers of all time and Poirot is her premiere protagonist (right next to Miss Marple). Different actors portray Poirot in these adaptations -- Albert Finney and Peter Ustinov, respectively -- but like the Branagh versions, the "red herring" ensembles are filled with famous faces of the era. Chinatown (1974) Where to Watch: HBO Max, Hoopla, DirecTV, Kanopy, or rentable on most platforms. Forty years removed from the hardboiled detective novels that inspired film noir, Chinatown brought back the format and unspooled one of the grandest, most-applauded mystery movies of all time. Jack Nicholson headlined this one as private dick J. J. Gittes, a down-on-his-luck 1930s investigator who haphazardly uncovers a series of murders connected to the California water wars. This multi-layered story, which was part mystery and part psychological drama, also starred Faye Dunaway and Maltese Falcon director John Huston. Memento (2001) Where to Watch: HBO Max, Hoopla, Kanopy, DirecTV, or rentable on most platforms. Oftentimes, film noir mysteries were purposefully baffling, focusing on the investigation itself while the results amounted to very little. It was a comment on the eroding clarity and morality of the time, stemming from the existential crisis occurring in America following World War I. Many times the protagonist would find themselves back where they started. Well, this Christopher Nolan movie took that idea and turned it into a full-fledged format twist, as Memento featured a lead character with the inability to form new memories and a story that, because of this short-term memory loss, works its way backwards. Guy Pearce's tattooed widower bent on revenge finds himself at the mercy of his own past rage, unable to realize he's tricking himself. Carrie-Anne Moss and Joe Pantoliano also star. See more of the best thriller movies of all time. Gosford Park (2001) Where to Watch: Rentable on most platforms. Director Robert Altman and Downton Abbey creator Julian Fellowes delivered a devious, dark comedy with the 2001 murder mystery Gosford Park, starring a truly stunning ensemble of players - like Maggie Smith, Kristin Scott Thomas, Emily Watson, Charles Dance, Ryan Phillippe, Stephen Fry, Michael Gambon, Richard E. Grant, Derek Jacobi, Kelly Macdonald, Helen Mirren, Jeremy Northam, and Clive Owen. When a murder occurs after a dinner party during a shooting weekend at an English country house, the wealthy Britons and their servants present their different perspectives as to what happened. Clue (1985) Where to Watch: Paramount+ w/ Showtime add-on or rentable on most platforms. Before there were movies based on video games there was Clue. A kooky, off-kilter comedy, based on the murder mystery board game (with main characters directly from the game itself), Clue featured an ensemble of winning comedy performers -- like Tim Curry, Madeline Kahn, Christopher Lloyd, and Michael McKean -- in a zany whodunnit that featured three different filmed endings/resolutions. And back in 1985, you'd get a different ending depending on the theater where you saw the movie. Now you just watch all three endings unravel at the finish, though that doesn't take away from this hilarious, quotable dinner-party-turned-deadly. The Girl With the Dragon Tattoo (2011) Where to Watch: Hulu, Topic, or rentable on most platforms. Director David Fincher hasn't made as many feature films as Alfred Hitchcock, but his gruesome spin on the suspense genre has given us magnificent modern mysteries like Seven, The Game, and Gone Girl. For our Fincher pick though, it's his American remake of The Girl With the Dragon Tattoo, an adaptation of Stieg Larsson's first book in the "Millennium Series," which feature the characters hacker Lisbeth Salander and journalist Mikael Blomkvist. The ferocious film, starring Daniel Craig and Rooney Mara, teams the two to solve the mystery of a vanished girl from a wealthy family from 40 years prior. Read our review of The Girl with the Dragon Tattoo. Who Framed Roger Rabbit (1988) Where to Watch: Disney+, Roku (w/ ads), or rentable on most platforms. This landmark movie in terms of blending live-action animation (during a rather Wild West era of IP use) imagines a world where cartoons are real and living in Los Angeles, filming their animated shorts like actors would a regular movie. A stylish, silly, and sometimes scary homage to film noir, Who Framed Roger Rabbit pairs a joyful-but-dimwitted toon with Bob Hoskins' boozy, hardscrabble P.I. for a murder case that leads into a full land-grab conspiracy, filled with thought-provoking social commentary and wild set pieces. LA Confidential (1995) Where to Watch: Roku w/ Starz add-on or rentable on most platforms. Curtis Hanson's masterful good cop/bad cop/worse cop ensemble drama helped put Aussie actors Guy Pearce and Russell Crowe on the map here in the U.S while also harkening back to classic film noir. There's a new drug pusher in L.A. and three different cops, working things from different angles, must come together to take down the City of Angels' new mystery crime lord. Taking home a couple of Oscars (including one for actress Kim Basinger), LA Confidential is cynical and suspenseful. Upcoming Mystery Movies Although there aren't a lot of big mystery movies on the horizon, there are a few different things to look forward to. Perhaps the most intriguing upcoming mystery movie update is that is supposedly going to be a Clue Reboot from Ryan Reynolds that we don't have the release date for just yet. Coming sooner than that in January, 2024 is Night Swim, which is a great pick for fans of mystery-horror films. Fans of spy movies can also look forward to the new Matthew Vaughn film called Argylle, which will hit theaters in February, 2024. Matt Fowler is a freelance entertainment writer/critic, covering TV news, reviews, interviews and features on IGN for 13+ years.
6282	dbpedia	3	93	https://www.gq.com/story/martin-scorsese-profile	en	Martin Scorsese: “I Have To Find Out Who The Hell I Am.”	https://media.gq.com/pho…_Scorsese_03.jpg	https://media.gq.com/pho…_Scorsese_03.jpg	[ "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://www.gq.com/verso/static/gq-global/assets/logo.svg", "https://media.gq.com/photos/650b2b4973b15519c5c2194b/master/w_2560%2Cc_limit/GQ1123_Scorsese_01.jpg", "https://media.gq.com/photos/650b2b4973b15519c5c2194c/master/w_1600%2Cc_limit/GQ1123_Scorsese_03.jpg", "https://media.gq.com/photos/650b2b492282f0aaed29b229/master/w_1600%2Cc_limit/GQ1123_Scorsese_02.jpg", "https://media.gq.com/photos/654baa5a108b5be2d463df67/1:1/w_775%2Cc_limit/Scorsese%2520TikTok.jpg", "https://media.gq.com/photos/650c5e8f2282f0aaed29b2f6/master/w_1600%2Cc_limit/GQ1123_TOC_02.jpg", "https://media.gq.com/photos/650b2b482282f0aaed29b227/master/w_1600%2Cc_limit/GQ1123_Scorsese_D_05.jpg", "https://media.gq.com/photos/650b2b488a70f8edafc41eca/master/w_1600%2Cc_limit/GQ1123_Scorsese_04.jpg", "https://media.gq.com/photos/66967278498cb610034968e5/4:3/pass/undefined", "https://media.gq.com/photos/6697063e8e74b19f50ef2a66/4:3/pass/undefined", "https://media.gq.com/photos/6696f1e26a530950ec1921d5/4:3/pass/undefined", "https://media.gq.com/photos/6696f45f9b95967956737cf9/4:3/pass/undefined", "https://www.gq.com/verso/static/gq-global/assets/logo-reverse.svg" ]	[]	[]	[ "" ]	null	[ "Zach Baron", "Bruce Gilden", "Gabriella Paiella", "Tyler Chin", "Gerald Ortiz", "Timothy Beck Werth", "Michael Nolledo", "Condé Nast" ]	2023-09-25T08:00:00-04:00	Now 80, the legendary director is on one of the most creative runs of his career— and consumed by the challenges (and opportunities) of all that he has left to do.	en	https://www.gq.com/verso/static/gq/assets/favicon.ico	GQ	https://www.gq.com/story/martin-scorsese-profile	This story was featured in The Must Read, a newsletter in which our editors recommend one can’t-miss GQ story every weekday. Sign up here to get it in your inbox. For years, Martin Scorsese would ask himself: What will happen when I get old? As a child, Scorsese was often sick with asthma, and as an adult, he spent a good part of his 30s weakening his heart, through excess and exertion, to the point of ending up in the hospital. Mortality has always been a specter in his life, and particularly in his films, which are a vast record of violent and untimely endings. But this recurring question wasn’t about death. This was: What will happen when I get old? What kind of work could I do? he would ask himself. Would there be any more depth? In November, Scorsese will turn 81. Since his debut, 1967’s Who’s That Knocking at My Door, he has never stopped working for any noticeable amount of time. He has worked through addiction, four divorces, critical and commercial failure, and 13 losses (and one win) at the Academy Awards. He has made so many good—so many great—feature films and documentaries that I can’t begin to list them all, though we can marvel at even a partial list: Mean Streets, Italianamerican, Taxi Driver, The Last Waltz, Raging Bull, Goodfellas, Casino, No Direction Home, The Departed, The Wolf of Wall Street, Silence, The Irishman. A fun dinner party topic: Did Scorsese make the best movie of each decade since the ’70s? Probably not (I think his case is weakest in the first decade of this century), but you could argue it, and many people have. Still again, in the back of his head, this question about his talent and whether it would endure: “I always wondered, would it develop into anything if I got older? If I became old. Would it develop into anything? Would it be making the same movie? And if making the same movie, is that bad?” The book is still being written on the work—all seven magnificent decades of it. But Scorsese knows something now about what happens when you get old. Getting older is a relentless process of paring down. Getting older is an exercise in letting go. Let go of anger: “I’m at the age now where you just—you’ll die.” Let go of fitting in, of going up to Rao’s with important people. Let go of other people’s opinions: “That doesn’t mean you don’t take advice and you don’t discuss and argue, but at a certain point you know what you want to do. And you have no choice.” Let go of the idea that you might someday visit the Acropolis. Let go of the idea that a movie needs a beginning, a middle, and an end: “Maybe the middle’s all around it, you know?” Let go of the Academy’s opinion, of the idea of being part of Hollywood at all: “I don’t really belong there anyway.” Let go of the experiments for the sake of experiments: that action sequence in Cape Fear; directing Paul Newman in The Color of Money. “I tried these things over the years. That time is gone now.” Let go of the studio system: “I thought I was in a Hollywood group. It didn’t work.” Let go of self-delusion, which is maybe the hardest thing of all to let go of. Shape the thing you’re making into a pure expression of the thing you’re making: “Cut away, strip away the unnecessary, and strip away what people expect.” The other day, Scorsese sat down and watched his newest film, Killers of the Flower Moon, all the way through. He has been developing the movie—which is based on David Grann’s book about a series of mysterious deaths during the 1920s among a Native American tribe, the Osage—since 2017. Killers is 206 minutes long, a commitment, even for the film’s author. It isn’t always easy for Scorsese to find time these days, to unclutter his brain, to let go of the many creeping anxieties that now confront him daily. “There were things on my mind,” Scorsese said. “I’m at a certain age now, as they say, and there are family issues and stuff. And I had to look at the whole film, to check the mix. And that was gonna be a chunk of time. How am I gonna do it? How am I gonna concentrate?” He hit Play. “And when it started, I…I watched it.” Killers is a long, uneasy dream of a film about love and deception and greed. It stars Leonardo DiCaprio as a dissolute war veteran who returns to Osage County, Oklahoma, to work for his uncle, played by Robert De Niro. Recently discovered oil has made the Osage people some of the richest in the country—at least on paper. In time, DiCaprio’s character marries an Osage woman, played by Lily Gladstone. And then the Osage start dying. Killers is violent, it is sad, it is infuriating, and it is sometimes very funny—in other words, it’s a Scorsese movie, and Scorsese found himself absorbed. He thought maybe, somehow, whatever dulling might come he’d staved it off, one more time. “I don’t know how it happened,” he said. “It’s been about six years with this project, since 2017. Living with it. And something about it…I just…I like it.” Scorsese keeps an office in a building in midtown Manhattan, on the same floor as a seemingly abandoned mortgage company, where the halls are lined with vintage movie posters and a handful of employees work in urgent quiet. One day, while I was sitting in the office kitchen, waiting for Scorsese to arrive, an older woman with a shock of white hair wandered in to pour herself some iced tea from the fridge. It was Thelma Schoonmaker, Scorsese’s longtime editor and the winner of three Academy Awards. She smiled, introduced herself, and then wandered back to the editing room that she and Scorsese maintain here. On the wall hung a poster for Spike Lee’s 1983 student film Joe’s Bed-Stuy Barbershop: We Cut Heads, signed by Lee in silver ink: “To Marty, Love, Respect.” When Scorsese arrived, it was at great speed, in a blue sport coat and the biggest sunglasses you’ve ever seen in your life. “Well, it’s not good,” he said. Two days ago, he’d had emergency dental surgery. “It’s major skull-duggery,” he said. “They’re going into the skull soon.” He had an armful of compact discs with him. “Are you in pain right now?” someone asked. “Yeah!” Scorsese said, doing a little impish dance. We sat in his office. He was wearing a pure white shirt, slacks, brown loafers. Scorsese, even in great discomfort, is…lively. He spent most of our first conversation on his feet—at one point, he leapt so suddenly from the couch that I stood up too. “Where are you going?” he asked, genuinely confused. Behind him, through the window, sat the Queensboro Bridge—cars crawling their way in and out of town. Scorsese is famously garrulous, but he likes to be alone. A legacy of his childhood a few miles south of here, perhaps. “I grew up on the Bowery,” Scorsese said. “And that was like being in a Bosch painting.” To this day his films manage to pack a startling amount of life into any given frame: men fighting on the corner in Taxi Driver; the camera gliding over hundreds of extras in the opening scene of New York, New York; DiCaprio, walking through the hectic sprawl of a movie set in The Aviator. Killers is full of these types of shots, too, characters busy enacting their lives, pushing through crowds, navigating houses full of family. It is, in many ways, the perspective of an observer rather than a participant, of someone watching from just outside the action. There is a misperception that Scorsese is shut up inside all the time, watching movies, experiencing life only at secondhand. This is not exactly true—“What if you do experience? What if it’s nobody’s business?”—but the reputation suits him, and it has roots in the truth, in an isolated childhood. “Watching films came out of a necessity from the illness of asthma,” Scorsese said. “And it came out of a loneliness, which I still have, which had to do with my father and my mother. And they couldn’t do anything with me. So they took me to the movies.” Loneliness, which I still have. His wife, Helen Morris, has lived with Parkinson’s disease for many years. “There’s a lot invested in my personal life at home,” Scorsese said. “And there are only a few people who understand that and are gracious enough to be part of it. And so where we used to have dinner parties and things, that’s all becoming much, much less. And so I’m pretty much alone. And invariably if I’m meeting with people, it’s business.” These days when he runs into someone he knows, Scorsese said, the partings have taken on a new significance. “I saw an old friend a few weeks ago here; my God, we’ve known each other since 1970. I hadn’t seen her in years. But by the time she left, we embraced and held onto each other for, like, 10 minutes, not knowing if we would see each other again. But couldn’t say more. But that’s good. It’s narrowed down.” He hardly travels now—he retains his lifelong fear of flying, for one thing. If you want him to come to you, you might have to send a private jet, or otherwise convince him it’s worth it. “I don’t really want to go anywhere,” he said. “So if you want me to come to where you are, well…” His wife was primarily raised in Paris: Maybe they’d like to get back there. “I’d like to go to London,” he said. “But, you know, I’ve been there a lot.” Los Angeles? “Most of my friends are gone,” he said. “They’re all new people. I don’t know them anymore. It’s a new town. It’s a new industry. And it’s nice. It’s just like, I can’t hang out there. Except when I’m with Leo.” He started naming other members of the small circle of people he still sees. The Band’s Robbie Robertson, whom Scorsese became close with while making a documentary about the Band’s final show, 1978’s The Last Waltz, and who passed not long after the two of us spoke. Rick Yorn, the producer. Former agent Michael Ovitz. Scorsese’s longtime collaborators Irwin and Margo Winkler. George Lucas and his wife, Mellody Hobson, up in San Francisco. “Sometimes I’m requested to do certain things for friends, and they’re able to get me there,” Scorsese said. Otherwise he’s content to not go anywhere at all. He has three daughters and two grandchildren. “And I like being around them. I’ve learned a lot from that. But what I’m getting at is, where do you fit?” Scorsese’s answer, basically, is: at work. “I feel strongly about the pictures I’m making and how I’m making them,” he told me. When Scorsese was still in his 30s, he directed three or four of the best films ever made within the span of about seven years, in Mean Streets, Alice Doesn’t Live Here Anymore, Taxi Driver, and Raging Bull. There was a clarity of focus he had that, for a time, was undone by partying and searching and wandering—a period in the late 1970s that almost ended in death. “When I did The Last Waltz, Robbie Robertson moved into my house, and we had a good time. But I didn’t belong there either.” Scorsese said he wanted to see how the Band’s music was made. Where did it come from? “I wanted to see what that magic was,” he said. “But ultimately there’s a lifestyle, too, that goes along with it. And a lot of it has to do with partying. And, okay: Partying went way out of hand for me. Because I didn’t know how to control it. But, I also wanted to go there. I wanted to go deep into it. I wanted to see where I’d wind up. Luckily, I survived that.” What followed were some years where the purity of his work and his concentration faded. Years, in Scorsese’s words, when “you could be influenced. I knew that I only felt comfortable when I did Mean Streets. I didn’t care what they were gonna say, you know? Then Mean Streets was successful. And Alice, to a certain extent, and Taxi Driver certainly was. Which again, I didn’t expect, but after that I became concerned what critics would think and what I’m gonna be doing. And that didn’t work out. Ultimately, the morass I fell into there, and the weakness, was that I tried to change the way I worked. And I was only partially successful with it. Eventually, it all became Raging Bull, which was basically just: Stay away from me. If you don’t like it. I can’t help you. I’m leaving. I’ve left the building.” But Raging Bull didn’t do particularly well, commercially, and so Scorsese spent years fighting to make the movies he wanted to make, sometimes by making movies he didn’t particularly want to make. It’s only recently, he said, that that clarity of focus, the one from the early years where he was doing exactly what he wanted to do, had returned. Did it feel the same, at 80, that it did at 25 or 35? No, said Scorsese. Not at all. Entirely different. “Just the experience of being 80,” Scorsese said. “Experiencing life and having a family—that’s different now than from my earlier years. The family situation is different. Having a child where I helped raise the child from day one is different from my other two daughters.” Scorsese’s marriage to Morris is his fifth; their daughter, Francesca, recently turned 23. Before that, Scorsese said, “marriages were broken up almost immediately. And so there was a fracture that, we’re very close now, but still I missed those…I missed those times. I fell, not them. And, yeah, your family dying off. My parents, my brother, pretty much I think anybody who was around—there’s maybe two cousins that are left. This is a family where my mother had seven brothers and sisters. My father had eight brothers and sisters. And so they have children. It’s all gone. It’s all gone. It’s the end of Gangs of New York where they fight in the streets, and then they’re just buried and the grass grows on the graves. And then the buildings come up across the river. And we forgot all those stories about who those people are and all their trouble.” Read More Francesca Scorsese on What It’s Like to Direct Her Famous Father—on Her Viral TikTok The younger Scorsese has been on a heater posting delightful videos of Marty. All these people you’ve known and loved—“they suffered and struggled so much, and then life is over,” Scorsese said. “You get to the point of saying, ‘Well, what does it all mean?’ It doesn’t matter what it means. You have to live it. And if you choose not to live it, you choose not to live it, that’s up to you. But you are existing and you live with that existence. And so I think that has changed. And I don’t want to necessarily move the camera if I don’t want to anymore. I don’t. I don’t care. I just don’t care about that anymore.” At the moment, Scorsese said, he and Schoonmaker were busy working on a documentary about the filmmakers Emeric Pressburger and Michael Powell—two early inspirations and idols of Scorsese’s who later became his friends and mentors (Schoonmaker was married to Powell before his death, in 1990). How long should the clips from their films be, is what he and Schoonmaker were trying to figure out. “And are these the right clips? We are getting…I think we’re up to revisions all the way up through 49th Parallel to I Know Where I’m Going! Now we’re going into, uh, The Small Back Room, Peeping Tom, and Gone to Earth.” But wait, why was he telling me this? Scorsese has a way of talking around a thing. Or talking through it at such great speed that he’s got to double and triple back. He tends to leave the citations in: every movie, every director, every personal slight that ever related to the point he’s trying to make. Which was…? Oh, right. Should a movie be linear? Scorsese said he’s always been allergic to just starting at the beginning and going from there. “I bristle at pretty much straight storytelling,” he said. Of course, some directors that he respects, adores, could do exactly this. Raoul Walsh, King Vidor, Michael Curtiz. “I admire that, but I realize that I’m not one of them,” Scorsese said. He came of age in thrall to a different kind of filmmaker. John Cassavetes, Stan Brakhage, Shirley Clarke, the French and British New Waves. Directors “that made you realize that you could start all over again and reinvent cinema.” Andy Warhol! “Warhol did it really with the redefining, or trying to redefine, the very grammar of cinema,” Scorsese said. “So he makes a film called Sleep. In which it’s a man sleeping for five hours. One shot. Empire. Now, I’m not saying these are great films. I’m saying that he’s making you rethink what a film is.” Hmm, where were we? Ah, yes, he was talking about how movies can be built or deconstructed because of Killers, which has the elliptical, episodic structure of many of his other films. Less narrative, more atmosphere, more information by way of anecdote, by way of scene, by way of character. “What I had hoped to do, and I didn’t do this intentionally, I didn’t put it in words, but I felt when I started it that I was living in it,” Scorsese said about Killers. “I was living there, and I was with them. And we are drifting through their world. We’re immersed in their world. So I want the audience, by the time they're halfway through the movie, they realize, Wait a minute, what kind of people am I with?” What kind of people are we with? Evil men. Killers, in Scorsese’s telling, is a story about love and power and betrayal and white supremacy. It is about a community of white folks who come onto someone else’s land and then systematically set to taking everything they can, often by violence. “What I sensed was, it just wasn’t one or two people,” Scorsese said. “I sensed it was everybody. And I said, ‘Well, if it’s everybody, then it’s us too.’ In other words, we as Americans, we are complicit.” Scorsese pictured himself in the same situation: “What would I do? Would I shy away? Would I pretend I didn’t see anything?” So Killers is, in this sense, a story about America, in the same way that The Irishman, about the Mob and the Kennedys and Jimmy Hoffa and the criminal element that helped build our last century, is a story about America, and in the same way that The Wolf of Wall Street, about a particular kind of relentless greed and self-invention, is a story about America. This goes back through Scorsese’s films all the way to Mean Streets, which he says is about what he calls the American dream: “Get rich quick by any means necessary.” Where does that interest in America come from? Actually, that’s a tale unto itself. “I tell you, it goes back to my immersion in New York Catholic teaching and Catholic schools in the mid-’50s of the 20th century.” As a sickly kid, Scorsese had nothing else to do but go to school. “My brother did his own things, and the other kids in the street did their things. And I made some friends in school. But what I’m getting at, I think, is what I found was that it made sense, what they were talking about. Not necessarily the nuns. I’m talking about a couple of priests, particularly that one that was a mentor of mine, Father Francis Principe.” Scorsese talks about Father Principe a lot. This was the man who interested him in the Church, where he once thought he’d be a priest. “And one of the things he talked about was, this goes back to the first Academy Awards, when they were first televised, I think it was On the Waterfront that won, or From Here to Eternity, maybe.” (It was actually The Greatest Show on Earth; From Here to Eternity and On the Waterfront won the following years.) And on television, which Scorsese watched at home, was this giant Oscar on the stage: “It was like three stories high.” And so everyone came to school excited the next day, except for Father Principe, who said, “Did you see what that image was on television? And we all, as kids, were looking at each other. And not knowing what he was getting at. He said, ‘That was the Golden Idol.’ That was, he didn’t say this word, but that was Moloch. And that means you’re serving a god that is success.” How does that connect? Well, “those things stuck with me,” Scorsese said. “I also became very influenced by the TV show that Rod Serling wrote called Patterns, that was then made into a film. And in fact, in the film Patterns with Van Heflin, he walks into the lobby of this new building, he’s going to his job for the first time. This is the period of Executive Suite, which also is excellent. Those two pictures about American corporate life—American corporate wars, so to speak—made a major impression on me when I was a kid.” Later, Scorsese would shoot that same lobby, the one from Patterns, for The Wolf of Wall Street, when DiCaprio’s character is going to his job for the first time. But the idea is “the combination of that, the way those men tore at each other, different from 12 Angry Men, which also was very revelatory, because that was the first time I saw what America could be.” America was movies, it was greed, it was the worship of forbidden idols. It was money and competition and violence. It was Academy statues so tall and golden that they spanned the entire screen. “Now I’m talking about a person,” Scorsese said, “who’s 11, 12, 14. It’s very formative years.” None of his classmates from those years went on to be Martin Scorsese, and Scorsese never went on to be a priest, but never mind. “I’m here,” he said, smiling. Maybe America’s greatest living film director. “I didn’t go live in Rome.” It is a peculiar fact about Martin Scorsese that he does not enjoy actually making movies. “I don’t mean to be funny,” he said, “but, the thing is, you get up real early.” And Scorsese has never been a morning person. For most of his life, he recalled, “I’d stay up late watching movies on TV or reading late, or doing homework late, or trying to write scripts late. I lived at night and the streets were dark, and I never saw the light. It took me many years to understand where the sun set and where the sun rose. I didn’t know. I’m not kidding. I learned it in LA. When you’re going on Sunset Boulevard and you hit the Pacific Coast Highway and it’s seven o’clock and the sun is setting—it’s right there.” He likes to borrow a complaint from Kubrick. “They said, ‘What’s the hardest thing about directing?’ He said, ‘Getting out of the car.’ Because once you get out of the car, the questions start.” Now, when Scorsese gets out of the car in the morning, he looks at his AD and says, “What can’t I have today?” And yet he keeps working. Killers of the Flower Moon shot for months in high summer in Oklahoma. “First thing, they drive me around and I see these open prairies, and I saw these wild horses. They were magical, magical, wild horses just put out to pasture. It was like being in some ancient Greek elysian fields.” It was also hot and full of storms. The budget of the film, which was funded by Apple, was around $200 million—reportedly about the same as his last film, The Irishman, made by Netflix. One fascinating contradiction of Scorsese’s career is despite his success—critically and, more recently, commercially—he has never been a natural fit in Hollywood’s traditional studio system, and spent many of his younger decades in search of money and support to make what he wanted to make. Even his many successes, in those years, could feel like failures. “They told me one time, I think it was about Casino, where they said, ‘We made 60 million’—this is a paraphrase quote: ‘We made $60 million on that film or something like that in profit. We’re interested in making $360.’ ” (Ultimately, the film made about $43 million domestically and $73 million internationally.) More recently, in this century, Scorsese has struggled with the expectations of an industry that has never quite wanted what he’s wanted out of filmmaking—struggles that at times led him as close as he has ever come to quitting the business. 2002’s Gangs of New York, a longtime passion project of Scorsese’s, was in part poisoned by its producer, Harvey Weinstein, with whom Scorsese wrestled over the length and the budget of the film. “I realized that I couldn’t work if I had to make films that way ever again,” Scorsese said. “If that was the only way that I was able to be allowed to make films, then I’d have to stop. Because the results weren’t satisfying. It was at times extremely difficult, and I wouldn’t survive it. I’d be dead. And so I decided it was over, really.” Then came 2004’s The Aviator, to which Leonardo DiCaprio was attached, and to which Scorsese found himself drawn—“the obsession of it is something that I could really understand.” But who, alongside Warner Bros., was a distributor of that film? Weinstein’s Miramax. “And I was against that; there was a meeting, and I was forced into that position,” Scorsese said. “I’d already been, uh, made pregnant, as they said. And there’s no way you’re getting out of it. But the shoot went well, the editing went well until the last couple of weeks of editing. And they came in and did some things that I felt were extremely mean.” (Warner Bros. and Miramax cut off funding for the film, he says; Scorsese ultimately finished it with $500,000 from his own pocket.) Once again, Scorsese said, it got to the point where “I just said, ‘I’m no longer making films.’ ” And yet within a few years, he’d talked himself into 2006’s The Departed, with DiCaprio again—another story Scorsese found himself wanting to tell and once again ultimately regretted trying to make when Warner Bros. purportedly asked if one of the two leads in the film, played by DiCaprio and Matt Damon, could live. (Spoiler alert: They do not.) “What they wanted was a franchise. It wasn’t about a moral issue of a person living or dying.” It was about having a character that could survive for another film. Scorsese remembers a test screening where everyone—the audience, the filmmakers—walked out ecstatic. “And then the studio guys walked out and they were very sad, because they just didn’t want that movie. They wanted the franchise. Which means: I can’t work here anymore.” The Departed was the film that won Scorsese, who has been nominated for an Academy Award for best director nine times, his first and only Oscar. “I always liked being nominated at the Academy, even though knowing, especially the fact that they didn’t nominate us for Taxi Driver”—the film was nominated, as were its stars, Jodie Foster and Robert De Niro, but not Scorsese or his screenwriter, Paul Schrader—“and Raging Bull, when I didn’t get the Oscar, I understood that that wasn’t my lot in life. But I always said this: Just be quiet and make the movies. You can’t make a movie for an award. Sure, I would’ve liked it, but like, so what? I mean, I had to go on and make pictures.” To this day, Scorsese said, he feels distant from, or not particularly understood by, the Academy. “I don’t live—you have to live in a community that is really an industry. You have to be part of the industry in such a way…. I don’t know if I think like them. I just mind my own business here.” Still, winning an Oscar, Scorsese said, “encouraged me to make another picture with Shutter Island. It turned out I should have gone on probably to do Silence”—another Scorsese passion project, about two 17th-century priests whose faith is tested in Japan, where Christianity is punished. He would ultimately make that film, part of his recent run of late-period masterpieces, in 2016. But Shutter Island, a genre film about perception and self-deceit, once again starring DiCaprio and released by Paramount, “was, I think, the last studio film I made.” Since then, Scorsese has sought independent funding for his pictures (Paramount still distributes them theatrically, with the exception of The Irishman, which got a brief run in theaters from Netflix) and, perhaps not coincidentally, “there’s been an alleviation of those kinds of contentious circumstances. It’s always there, but not on the level it was where I’m describing to you.” What do you think changed with the industry that a filmmaker as talented and dedicated as you just can’t make the films that they want? “Well, the industry is over,” Scorsese said. “In other words, the industry that I was part of, we’re talking almost, what, 50 years ago? It’s like saying to somebody in 1970 who made silent films, what do you think’s happened?” But, of course, Scorsese has theories. Studios, he said, are not “interested any longer in supporting individual voices that express their personal feelings or their personal thoughts and personal ideas and feelings on a big budget. And what’s happened now is that they’ve pigeonholed it to what they call indies.” Scorsese is often cast as a retrograde defender of how things used to be, in part because of his work with the Film Foundation, a nonprofit he helped found and which has since preserved and restored hundreds of films, but it’s not exactly that simple. He believes that movie theaters are not dying, precisely. “I think there will always be theatrical, because people want to experience this thing together,” Scorsese said. “But at the same time, the theaters have to step up to make them places where people will want to go and enjoy themselves or want to go and see something that moves them.” Here I suggested to Scorsese that the movie theaters could show only the films that Hollywood actually made, and therein might lie the problem—that if Hollywood makes nothing but comic book and franchise movies, and certain segments of the audience don’t want to see those films, then nothing is going to get them to a movie theater. I feel bad about having done this, since Scorsese’s skeptical comments about Marvel and comic book films in the past have attracted a lot of vitriol, and…here I am, inviting more vitriol for Martin Scorsese. Please complain to me and not him. But he does see trouble in the glut of franchise and comic book entertainment that currently makes up much of what you can see in a theater. “The danger there is what it’s doing to our culture,” Scorsese said. “Because there are going to be generations now that think movies are only those—that’s what movies are.” I think people already think that. “They already think that. Which means that we have to then fight back stronger. And it’s got to come from the grassroots level. It’s gotta come from the filmmakers themselves. And you’ll have, you know, the Safdie brothers, and you’ll have Chris Nolan, you know what I mean? And hit ’em from all sides. Hit ’em from all sides, and don’t give up. Let’s see what you got. Go out there and do it. Go reinvent. Don’t complain about it. But it’s true, because we’ve got to save cinema.” Cinema could be anything, Scorsese said; it didn’t just have to be serious. Some Like It Hot—that was cinema, for instance. But: “I do think that the manufactured content isn’t really cinema.” Again, you don’t need to say this. “No, I don’t want to say it. But what I mean is that, it’s manufactured content. It’s almost like AI making a film. And that doesn’t mean that you don’t have incredible directors and special effects people doing beautiful artwork. But what does it mean? What do these films, what will it give you? Aside from a kind of consummation of something and then eliminating it from your mind, your whole body, you know? So what is it giving you?” He is not a Luddite or a technophobe. He is as excited about Avatar: The Way of Water, about 3D and IMAX and formal and technological experimentation as anyone else. “I’m looking forward to new ways,” he said. “It’s just, I got as far as this. And that’s what I do. That’s it. And if I could just muster up the energy, God willing, to make a couple more, one more maybe, and that’s it, okay? That’s as far as I got. You keep going until you can’t. But what I mean is that you gotta rip it out of your skull and your guts. To find out what the hell you really…what do you really feel should be said at this point in life by you? You gotta say something with a movie. Otherwise, what’s the point of making it? You’ve got to be saying something.” Scorsese told me he often wondered how long he could be the exception to the rule, in terms of being a director who still makes original films that say something at scale, with big budgets. He has more films in development, even now, like an adaptation of Marilynne Robinson’s Home, which he first began working on with Todd Field, and then Kent Jones, prior to the WGA strike. But, he asked: “How much longer can it be me? I’m gonna be 81.” Well, what’s the answer to that? “I don’t know! I’m gonna try until they pick me up off the floor. What can I tell you?” Does Scorsese see his influence in the contemporary films he watches now? “Yeah. I see some camera moves. But I usually see story, atmosphere. Definitely there’s that influence in a lot of stuff. I’ve seen some that were so much that that I have to stop watching them. Not that I look at a film to learn something, but in effect, I’m not going to learn anything from this. You don’t put a film on to learn something. But in the process of watching something, you might come away from it enlightened. I can’t put it into words, but you’re enlightened in another way.” Take 2010’s Archipelago, directed and written by Joanna Hogg. “That was a revelation. And since then, I’ve been lucky enough to have helped produce her other films. I wasn’t looking at it to learn, but I did learn. And I think partially, like a lot of the style that I have now or what I’m trying to do, or not style, but the approach to filmmaking now has a lot to do with seeing films like that.” But those old camera moves, those old gestures, Scorsese said. “The point is, why do them? It’s now become part of the language. And, like, also, do I have to prove that I can do a really beautiful camera move? Like in Goodfellas? Well, I did it. Do it again? Hmm, no. It doesn’t pay. It really doesn’t. Because that was good for that moment, you know? There are people now, you can stitch things together, and there are people who do it incredibly beautifully. But I’m not interested in the technique of—uh, how should I put it?—the technical aspect of it. I’m interested in ultimately the accumulation of images, you see? The accumulation of people. And what’s going on with the people. But there are people who do these things now, camera moves—c’mon. So they’re doing everything, I gotta do something else. I gotta go somewhere else.” Most days, Scorsese can be found at his town house on the East Side, on the fifth floor, in a small, cluttered study with a couch that converts into a daybed. “This is where I make the movies,” he said, one afternoon this summer. Downstairs was dark wood and more movie posters—The Red Shoes, Madame de…, The Shanghai Gesture—and rooms full of his wife’s things: oil paintings, an original copy of Historic Families of America on a desk that belonged to her ancestor, the founding father Gouverneur Morris. There were stained glass windows, put in by the house’s first owner, Bob Elliott; three dogs; a dog gate; and an elevator, medically necessary, by which Scorsese and everyone else navigate the house. In his study, Scorsese was wearing blue socks and no shoes. The room, he said, was soundproof. His wardrobe was right across the hall. He had a kitchenette up here, too, and a projection screen, and a big complicated bank of machinery, gifted to him by Steven Spielberg, containing thousands of movies. “He’s got one,” Scorsese said. “Francis”—Ford Coppola, Scorsese’s old friend—“loved it too.” The pale afternoon light slanting in through the window made a halo of his white hair and famous eyebrows. By his side, on a small table, was a loose stack of white paper covered in fluid, urgent black handwriting. “I’m trying to make note of what I do each day,” Scorsese said. He has done this since 1988. It is part therapy, part practical diary—one he intends to burn before he is done. (Later, he told me he had changed his mind: He would keep the pages.) One obsession of many obsessions for Scorsese is self-deception. It is a theme that runs through his work: “All the films I make, they have a lot to do with trust and betrayal,” he said. Think of Taxi Driver, the way we are stuck in Travis Bickle’s increasingly deranged head, or the little lies all his wiseguys in Goodfellas and Casino and The Irishman tell themselves to justify what they do. In Killers, DiCaprio’s character is someone who does more and more wrong, even as he hides the truth of what he’s done from himself. Scorsese can relate to this, he said. He thinks about it all the time. It’s what his diary is for, in a sense. “People say, ‘Well, when this event happened in your life, did you feel a certain way?’ And if it’s really important to me, I could go find it and try to look at it and probably be mortified by what I wrote. Or even see my own—again, the thing we talked about—my own rationalizations or my own, what did I say, lying to myself? Or trying to live with what I was doing. You follow?” Why does this matter? “It has to do with what I’m doing,” Scorsese said. Which is trying to tell the truth, even if the truth is unflattering. “I just wanna be as honest with myself as possible. And if I’m honest in the work, maybe I could be honest as a person. Maybe.” And in my experience, Scorsese does try to be honest. If you ask him about impending mortality, for instance, which I did, hesitantly, he will tell you the truth. The truth, he said, is that “I think about that all the time.” I wish everyone could have been with us for what he said next. Because it was beautiful, and it’s hard to render beauty, but Scorsese spoke for about 40 minutes, after I asked this impertinent question about death, and I can only approximate it now, but here goes. “I look around here, I’ve got to figure out where all this goes,” Scorsese said, gesturing around the room, at everything he’d accumulated in it. “I’ve got to let go of everything. I was a great collector, a great obsessive glutton for cinema and books. And now they all have to go away.” In the back of his study were a series of shelves so crowded with photos of his friends and his children that you couldn’t see the books. “My little mosaic back there,” he called it. That had to go, he said. The film books behind them on the shelves had to go too. “Once you know that you gotta let go and you’re going to die, everything changes,” he said. How so? “The time you spend is really spending time,” he said. “It isn’t wasting time. Then one has to find within that spending of time an allowing oneself to just not feel you’re wasting it if you’re just existing for the moment. Just exist. Look out the window”—he looked out the window—“and see half a tree. You know, I look up at my 1940s posters when I was growing up. These are the movies I saw.” He pointed at the wall, at the posters from Cat People and Laura and Out of the Past and Leave Her to Heaven. “Out of the Past I saw in a double bill with Bambi. Those are the posters that as a child, they promised me something when I went to the theater.” Scorsese has thousands of posters and lobby cards from the ’40s and ’50s, he said, but these are different, and that’s why they’re here. “In any event, it is how you’re spending the time. Because it really means spending it. It’s not going to come back. And so there’s a balance between allowing yourself to exist—meaning, some people say ‘rest’; it’s not really resting, it’s existing—and the other thing is a manic, manic desire to learn everything at once. Everything.” He started looking around. “Which volumes are here? This is Ovid. There’s this guy, I started reading this last night, this is amazing.” He held up a book about the Elizabethan playwright Thomas Nashe. He held up another book: “Shakespeare’s tutor, Thomas Kyd.” He would love to go back to school, he said. He would love to read The Divine Comedy: “You have to get through the whole thing, but you need a guide.” He’s read all of James Joyce (besides Finnegans Wake), all of Tolstoy, all of Melville, all of Dostoevsky, but there’s so much he hasn’t read. Take Oblomov, by Ivan Goncharov. A book about a guy who just stays in bed and who doesn’t do anything. “He just wants to exist. Too much trouble falling in love. It’s gonna be painful. Too much trouble having a friendship. And I really want to read that. Because maybe the whole value is…look at the dogs we have. They exist. They don’t sin. You know what I’m saying? It’s like, what if you can get into that space? But at the same time, I want to know about the Akkadians and I wanna know about Cyrus the Great.” Which made Scorsese think of the Elamites: “What were they doing?” This is the beginning of civilization that he was talking about now. But the thing is, “I have no more time. I have no more time.” He was looking at books, at movie projects, at all this stuff he still wants to do, knowing he’s not going to get to them. “It’s too late for a lot of the threads that I wanted to follow,” he said. “The only thing I could really follow, if I choose the next film—Home, let’s say. Or if there’s something else that comes along that I really feel, Oh, it’s meant for me, I’ve got to. I could follow that. I could do it. I think I can—granted, you know, the grace to be alive to do it, and the health. But I’m involved with projects as a producer that I would love to direct but no longer have the time. Ten years ago, it would’ve been different.” There are things you can’t comprehend about being old until you’re old, he told me. “We had the line in The Irishman. The nurse is taking his blood pressure, and he says you won’t understand until you get there. You don’t understand until you get there. That’s all.” What’s left? The work, of course. Family. Faith, in Scorsese’s case. “I grew up that way, and I pushed, rejected, came back. But all the themes I deal with are those. So that must mean that I’m still part of it, or it’s still part of me. And then I have to find out who the hell I am. Meaning, how that fits into who I am or how I fit into it, whatever it is. You know, Flannery O’Connor, she talks about faith as being in a dark room and stumbling until you get the light switch. And so it’s a dark room. And there’s that little bit of light maybe somewhere, you know?” The thing about it being too late, he said—it was liberating too. I’d mumbled some questions about how he might yet use his time. Make one last great thing? Get right with God? But what Scorsese said was, basically, there is no resolution. There is just, well—you. “I don’t think it’s a matter of one last great thing,” he told me. “It’s a matter of continuing, exploring. Getting right with God, that’s always the case. You’re in the process of it. It becomes more evident as you age that you may not have the time. So it is a matter of dealing with that aspect of it every day. It’s who you’re dealing with, how you’re dealing with them, the best way you can. When you say, ‘Get right with God,’ do you think it’s a matter of learning the mystery of life? I don’t see how you can get the answer to this. You’re not going to get any. Is it a matter of expiration of guilt? Probably won’t happen. But that doesn’t matter because it’s who you are anyway. You’ve got to learn to live with it. And so the thing is, when it hits you, to say: ‘That’s me again. That’s that ache again right over here. All right, let’s move on. Oh, he hit me in the head here, didn’t he? Oh goodness. All right, let’s do it. Oh, there’s that same old problem you had 50 years ago. It’s coming back up.’ ”
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Access is restored to the catalogue The HPL App is back online Online eResources are available Libby/OverDrive Holds can now be placed Access partner libraries' (Burlington, London, Kingston, Mississauga and Ottawa) digital collections Public Wi-Fi is available at most branches except the Ancaster Branch Some Makerspace services are available at select locations Automatic check-ins are operating Website log-in is available USB printing is available at Central Library (2nd and 3rd Floor) and at the Ancaster, Barton, Red Hill, Terryberry, Kenilworth, Westdale, Valley Park, Saltfleet, Stoney Creek, Turner Park and Waterdown branches. Self-check kiosks, public computers and scanning are not available. Extended Access is cancelled at this time. Staff are available by phone at 289-779-7588, chat at hpl.ca, and email at askus@hpl.ca. Branches are open. Check hpl.ca/events for program updates. Thank you for your patience. 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6282	dbpedia	0	2	https://www.imdb.com/title/tt0038917/reviews	en	The Secret of the Whistler (1946)	https://m.media-amazon.c…630,1200_AL_.jpg	https://m.media-amazon.c…630,1200_AL_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:143-1943651-6088542:DETS6MAKB6KVE13Y0G2E$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DDETS6MAKB6KVE13Y0G2E:0", "https://m.media-amazon.com/images/M/MV5BMTAzNWY1NGItMWI4MS00ZWM3LTgzZWUtYmU5OWM3MjMzN2Q3L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMDMxMjQwMw@@._V1_UY98_CR6,0,67,98_AL_.jpg", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:143-1943651-6088542:DETS6MAKB6KVE13Y0G2E$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DDETS6MAKB6KVE13Y0G2E:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	null	The Secret of the Whistler (1946) on IMDb: Movies, TV, Celebs, and more...		https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0038917/reviews
6282	dbpedia	1	32	https://www.powerhousefilms.co.uk/products/columbia-noir-6-the-whistler-le	en	COLUMBIA NOIR #6: THE WHISTLER - LE	http://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_1200x1200.png?v=1707834138	http://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_1200x1200.png?v=1707834138	[ "https://www.powerhousefilms.co.uk/cdn/shop/files/pH_logo_black_800px_300x300.png?v=1614774828", "https://www.powerhousefilms.co.uk/cdn/shop/files/pH_logo_black_800px_70x.png?v=1614774828", "https://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_300x300.png?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_NUDE_packshot_72dpi_RGB_transp_300x300.png?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354A_THE_WHISTLER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354B_THE_MARK_OF_THE_WHISTLER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/355A_THE_POWER_OF_THE_WHISTLER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/355B_VOICE_OF_THE_WHISTLER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/356A_MYSTERIOUS_INTRUDER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/356B_SECRET_OF_THE_WHISTLER_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/357A_THE_THIRTEENTH_HOUR_digipak_RGB_72dpi_300x300.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/357B_THE_RETURN_OF_THE_WHISTLER_digipak__RGB_72dpi_300x300.jpg?v=1707834114", "https://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_720x@2x.png?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_110x110@2x.png?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354_COLUMBIA_NOIR__6_NUDE_packshot_72dpi_RGB_transp_110x110@2x.png?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354A_THE_WHISTLER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/354B_THE_MARK_OF_THE_WHISTLER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/355A_THE_POWER_OF_THE_WHISTLER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/355B_VOICE_OF_THE_WHISTLER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/356A_MYSTERIOUS_INTRUDER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/356B_SECRET_OF_THE_WHISTLER_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/357A_THE_THIRTEENTH_HOUR_digipak_RGB_72dpi_110x110@2x.jpg?v=1707834138", "https://www.powerhousefilms.co.uk/cdn/shop/files/357B_THE_RETURN_OF_THE_WHISTLER_digipak__RGB_72dpi_110x110@2x.jpg?v=1707834114" ]	[]	[]	[ "" ]	null	[]	null	WALK A CROOKED MILE (Gordon Douglas, 1948) WALK EAST ON BEACON! (Alfred Werker, 1952) PUSHOVER (Richard Quine, 1954) A BULLET IS WAITING (John Farrow, 1954) CHICAGO SYNDICATE (Fred F Sears, 1955) THE BROTHERS RICO (Phil Karlson, 1957) Release date: 27 September 2021 Limited Edition Blu-ray Box Set (World Blu-ray premieres) Indicator’s ongoing series of Columbia Noir box sets returns with its fourth instalment, once again delving into the studio’s archives to select six films which plunge the viewer into a dark world of crime. Featuring Kim Novak, Fred MacMurray, Jean Simmons, Rory Calhoun, Abbe Lane, Louis Hayward, and Richard Conte – not to mention gangsters, G-men, foreign spies, criminals on the run, and corrupt cops – Columbia Noir #4 continues the series in fine style. Presenting all six films on Blu-ray for the first time anywhere in the world, this stunning collection includes newly recorded commentaries and critical appreciations, archival documentaries, six Three Stooges comedy shorts which lampoon the tropes and themes of the titles in the set, and a 120-page book. Strictly limited to 6,000 numbered units.	en	//www.powerhousefilms.co.uk/cdn/shop/files/pH_logo_white_800px_32x32.png?v=1614748150	Powerhouse Films Ltd	https://www.powerhousefilms.co.uk/products/columbia-noir-6-the-whistler-le	Release date: 20 May 2024 Limited Edition Blu-ray (World Blu-ray premieres) THE WHISTLER (William Castle, 1944) THE MARK OF THE WHISTLER (William Castle, 1944) THE POWER OF THE WHISTLER (Lew Landers, 1945) VOICE OF THE WHISTLER (William Castle, 1945) MYSTERIOUS INTRUDER (William Castle, 1946) THE SECRET OF THE WHISTLER (George Sherman, 1946) THE THIRTEENTH HOUR (William Clemens, 1947) THE RETURN OF THE WHISTLER (D Ross Lederman, 1948) Our sixth journey into Columbia Pictures’ film noir output walks a different path, taking a detour into the mysterious world of the Whistler, as we present all eight films in the popular series. Adapted from a hit radio series, each episode has the Whistler emerge from the shadows to introduce a nightmarish, twisting tale in his own sardonic manner, with the first seven films starring Richard Dix (It Happened in Hollywood). In The Whistler, a guilt-stricken man hires a contract killer to end his life… but finds he cannot pull out of the deal. The Mark of the Whistler sees a homeless man claim the money in an abandoned bank account, only to find the rightful owners on his tail. In The Power of the Whistler, an amnesiac must reconstruct his dark past using only the items in his pockets. Voice of the Whistler finds a poor nurse marry her wealthy, terminally ill patient, only for him to defy the odds and recover. In Mysterious Intruder, a private eye becomes embroiled in a murderous race to track down a missing girl and a lost fortune. The Secret of the Whistler sees a young bride suspect that her new husband may have murdered his first wife. In Dix’s final film, The Thirteenth Hour, the owner of a trucking company is framed for a murder he didn’t commit. Finally, in The Return of the Whistler, Michael Duane takes the lead as a man whose fiancée is abducted on the eve of their wedding. This essential four-disc collection marks the UK Blu-ray premiere of all eight films, and features an array of fascinating contextualising extras, including newly recorded commentaries, critical appreciations, rare archival short films, and a 120-page book. Strictly limited to 6,000 individually numbered units. INDICATOR LIMITED EDITION 4 x BLU-RAY BOX SET SPECIAL FEATURES THE WHISTLER / THE MARK OF THE WHISTLER High Definition presentation of The Whistler Standard Definition presentation of The Mark of the Whistler Original mono audio Audio commentary with film historian Josh Nelson on The Whistler (2024) A Whistle-Stop Tour (2024, 25 mins): in-depth overview of the film series by critic and author Kim Newman It’s Your America (c.1945, 36 mins): dramatised documentary focusing on soldiers returning from World War II, directed by John Ford and featuring J Carrol Naish, the antagonist in The Whistler Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing World premieres on Blu-ray THE POWER OF THE WHISTLER / VOICE OF THE WHISTLER High Definition presentations of The Power of the Whistler and Voice of the Whistler Original mono audio Audio commentary with professor and film scholar Jason A Ney on The Power of the Whistler (2024) Audio commentary with film historian Lee Gambin on Voice of the Whistler (2024) The Noir City Interview with Robert Dix (2010, 19 mins): interview with the son of lead actor Richard Dix, recorded in Los Angeles following a screening of The Power of the Whistler Stuart Holmes Oral History (1958, 69 mins): rare archival audio recording of the prolific character actor in conversation with historian George Pratt Image galleries: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing World premieres on Blu-ray MYSTERIOUS INTRUDER / THE SECRET OF THE WHISTLER High Definition presentations of Mysterious Intruder and The Secret of the Whistler Original mono audio Audio commentary with film historian Jeremy Arnold on Mysterious Intruder (2024) Working in the Shadows (2024, 22 mins): author and critic Kim Newman discusses cult filmmaker William Castle’s early career as a studio-contracted director, prior to his successes as an independent showman best known for his macabre genre movies Image galleries: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing World premieres on Blu-ray THE THIRTEENTH HOUR / THE RETURN OF THE WHISTLER High Definition presentations of The Thirteenth Hour and The Return of the Whistler Original mono audio Audio commentary with academic and curator Eloise Ross on The Thirteenth Hour (2024) It’s Murder (1944, 9 mins): dramatised documentary, produced for the war effort and featuring a number of cast and crew members from the Whistler film series Image galleries: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing World premieres on Blu-ray Limited edition exclusive 120-page book with a new essay by Tim Lucas, archival interviews with actor Richard Dix, an extract from director William Castle’s autobiography, an archival article on the popularity of the radio show, new writing on the short films, and film credits World premieres on Blu-ray Limited edition box set of 6,000 individually numbered units for the UK
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"https://www.facebook.com/tr?id=1830025367259047&ev=PageView&noscript=1", "https://ct.pinterest.com/v3/?tid=2613394339735&event=init&noscript=1" ]	[]	[]	[ "" ]	null	[]	null	Next Level Accessories For Home, Office & EDC. Minimalist + Function. Designed & Crafted to Last. Handmade in Portland, USA. Elevate Your Work Now!	en	/static/img/icons/favicon.ico?_v=1599686080.4251332	Grovemade	https://grovemade.com/	Victor, aka Victor Sweet, aka Victor Strong is not only our awesome Production Manager but he’s also one of our most powerful Grovemaders. Victor’s secret for superhuman strength? A steady diet of hip-hop, rap, R&B and heaping scoops of white hot magma. When through with his morning routine of deadlifting small cars and tiny houses, you’ll find him fishing the banks of the Columbia River, where he reels in trolley-sized carps with his steely bare hands and a visage of extreme aplomb. When not performing unmatchable feats of strength, you’ll find this dynamo enjoying the many tasty tidbits found far and wide in our fair city. Sean is a man-bear hybrid who rules the woodshop with the ultimate weapon: love. His heart is so big he doesn’t have room for any other organs, and he’s got a PhD in Silliness. Alright, he does have a brain, but, it’s part of his heart -- it’s like a heart-brain. His heart-brain is SMART. This guy is a space camp graduate and a product design genius! He’s also got an amazing collection of embarrassing stories to make you cringe with joy. Ken started the company with Joe in 2009 under the impression that eventually there’d be free pizza. Ken is a design nerd and furniture designer with a passion for photography and collecting weird things, like fruit stickers. He’s an active field trip enabler and enjoys bribing the team with Trailblazers tickets and empty promises that someday we’ll all get to see his expertly curated apartment. Check out some of his furniture designs here. Sara is so good at learning about things, that sometimes you say, “When did she learn to do that?” But before you even finish saying that she’s learned about something else! She’s a chocolate enthusiast with a degree in design. She likes to ponder low-waste living and sustainability while biking to work, which is nicely consistent of her. Unsurprisingly, she excels at many things in the shop, from woodworking to customer service and writing. Nozomi is a world-traveling musician and number wizard extraordinaire. She makes sure all of our business details have nice snug little homes where they don’t get lost or swept under the rug. In a past life, she was a scientist, and we all feel much smarter when she’s around. Her ideal Sunday includes Dim Sum - but she wouldn’t tell us about the rest of the day, because she says she really likes to be mysterious, so there you go. Ben is a fellow of numerous talents. Here at Grovemade, he's our manufacturing engineer, meaning he commands our machinery to do as he wills! He also fixes them when they break and puts them on timeout when they disobey the rules. A dedicated father of two radical daughters, Ben also loves taking them to the backcountry for adventurous excursions. When the perfect river or stream is found, they bring in the fish with Ben's handmade rods and flies. In his free time, Ben is also hard at work inventing a robot that will sing his favorite lullabies as he prepares to dive into his daily afternoon nap. And beware of disturbing Ben when he's at rest—his prototype Lullaby Robot X-25 is also outfitted with lasers. Gerardo once ate an oyster with an actual pearl inside. He keeps the pearl—his good luck charm—in a little glass bottle. As far as we're concerned, this is plenty of high quality biographical information, but we'll tell you a little more—Gerardo loves Esports, and once completed a Dot-to-Dot with over 2000 dots. That’s called patience, folks! John is the master process-optimizer and efficiency aficionado in our shop, where he gets his hands dirty each day building beautiful products. He is a Portland native, and, so, naturally, he’s also an accomplished rock drummer. He has a rad collection of bikes, which he uses exclusively for cruisin’. He likes the Flaming Lips, and suggests that if you see them live, you should pay attention to the drummer. Nick is an accomplished toothbrusher. He used to do 20 pushups every night before bed, but he stopped a while ago and hasn’t looked back. Some of his favorite things are coffee, cooking while wearing aprons, throwing anything round, and music. Nick is our resident word-smith and idea generator and customer question answerer. He loves email subject lines and looking at numbers for a long time and then drawing graphs. Christian is a jack of all trades, but don’t call him “Jack”. Event planning? Check. Building everything? Check. Resident wakeboarder? Check. Producing a vodka brand? Check. He came to us from Lake Tahoe and the University of Oregon Product Design program, where he says he built a particle accelerator that fits in your pocket, but we think he was exaggerating. In his spare time he advises on ideal burger toppings and talks about his Subaru. Emma is our resident whistler and omnichord enthusiast—a musical predilection that suits our workshop well. (Whistle while you work, am I right?) Moss and lichen are her favorite growy-things, which are quite suited to the Pacific Northwest. Outside of building things at work, you'll likely find Emma doodling. Doodling what? Wouldn’t you like to know? Christof knows exactly one more thing about exactly one more movie than Max does. How? Well, by writing so many short stories. Short story authors, in contrast to long story authors, can watch more movies. And, in Christof's case, make more movies—including ones screened at the Northwest Film Center. And to top it off, one time they performed stand-up comedy in the Portland Art Museum. Brava, Christof! Kacy has a plan and his plan is to watch basketball later, after work. He likes to build things, at Grovemade and at home, things like custom PCs. On the basketball court, he uses magical mind-power and strong ankles to best his opponent. In the basketball arena, you can find him wielding whatever wild collectable cup they have because he goes “all out.” To start with a bang: Gillian once made eye contact with Paul Giamatti while he was inside of a dumpster. She dabbled in stand up comedy, until she decided she hated it, and now she holds down the fort at Grovemade. Gillian is a published poet, is good at making soup and has some very particular daydreams about adopting (direct quote here) "a bunch of grumpy geriatric chihuahuas." Justin's a laid back guy who enjoys the finer things in life: a Tom Collins, a clean haircut, and the finest of contemporary cinema (Young Guns II; Cool Runnings; The Mighty Ducks). With a voice reminiscent of radio men of yon, Justin's soothing baritone brings an exuberant calm to the woodshop. Caroline is an inter-continental dog-rescuing field hockey-playing curbside treasure-hunting extraordinaire. She's considered starting a TV show about renovating houses using only found furniture, called "Kicked to the Curb"... or at least, she could consider it, if she wanted to. She likes homemade baked goods and lavender scent. And, probably, lavender-scented homemade baked goods. Or homemade baked goods which contain lavender! Oh, the possibilities! What's the longest bridge in the world? Who produced "The Godfather II"? Which oceanic current is used by migrating humpback whales? Just wanted to kick things off with some trivia, which is Seann's forte! Not only is he good at trivia, but he also likes disco, retro video games, and antiquing. The past, to Seann, is a rich playground for exploration. At Grovemade, you'll find him being extremely helpful. Jim is an efficiency enforcer with a heart of gold, hailing from the ever expanding Chicagoland beast in Illinois. He's passionate about anything embodying variety and balance at the same time—think tightrope walking octopi, or sumo wrestlers practicing yoga. Jim can hold his own on the soccer field, chess board, yoga mat, and conference room. He and his wife Sarah annually host a short film festival and an audio festival through their creative group, Yumi Life. You know how there's always random stuff around, stuff that just doesn't have a good place to be? Anthony knows the solution—build a container. Or a stand. Bingo. Now that thing has a place. Anthony is a surprisingly good dancer (he used to teach breakdancing in high school) so he might celebrate his organizational victory with a quick dance. A Portland native, he is enthused by the outdoors. In particular, the Pacific Northwest outdoors. Bloom where you're planted, they say, and Anthony couldn't agree more. Wren has climbed 57 of the 58 14,000-foot-tall mountains in Colorado. The final one is on private property, but perhaps she'll summit that one day, too. She loves knitting and flamin' hot cheetos, but never at the same time. When she's not at work building things in our shop, you’ll find her en route to the desert of Southwestern Utah.
6282	dbpedia	3	50	https://www.filmsite.org/mysteryfilms.html	en	Mystery Films			[ "https://www.filmsite.org/images/filmsite-header-bold-A.jpg", "https://www.filmsite.org/images/detective-genre.jpg", "https://www.filmsite.org/images/detectivefilms.gif", "https://www.filmsite.org/images/mysteryfilms.gif", "https://www.filmsite.org/images/detectivefilms.gif", "https://www.filmsite.org/images/mysteryfilms.gif", "https://www.filmsite.org/reddot.gif", "https://www.filmsite.org/covers/sherlockh.jpg", "https://www.filmsite.org/shots/houndofb6.jpg", "https://www.filmsite.org/shots/houndofb7.jpg", "https://www.filmsite.org/covers/charliechan.jpg", "https://www.filmsite.org/filmfotos/charliechanopera.jpg", "https://www.filmsite.org/filmfotos/mrmotovacation.jpg", "https://www.filmsite.org/covers/thinman34.jpg", "https://www.filmsite.org/covers/bullddrum.jpg", "https://www.filmsite.org/covers/murderorient.jpg", "https://www.filmsite.org/images/prevpage.gif", "https://www.filmsite.org/images/spacer.gif", "https://www.filmsite.org/images/nextpage.gif" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.filmsite.org/mysteryfilms.html	Detective-Mystery Films are usually considered a sub-type of crime/gangster films (or film noir), or suspense or thriller films that focus on the unsolved crime (usually the murder or disappearance of one or more of the characters, or a theft), and on the central character - the hard-boiled detective-hero, as he/she meets various adventures and challenges in the cold and methodical pursuit of the criminal or the solution to the crime. The plot often centers on the deductive ability, prowess, confidence, or diligence of the detective as he/she attempts to unravel the crime or situation by piecing together clues and circumstances, seeking evidence, interrogating witnesses, and tracking down a criminal. See also AFI's 10 Top 10 - The Top 10 Mystery Films and Filmsite's related Greatest Plot Twists, Spoilers, and Surprise Endings. Detective-mystery films emphasize the detective or person(s) (an amateur, a plain-clothes policeman, or a PI - Private Investigator) solving the crime through clues and exceptional rational powers. The detective studies the intriguing reasons and events leading to the crime, and eventually determines the identity of the villain (a murderer, a master spy, an arch fiend, an unseen evil, or a malignant psychological force). The central character usually explores the unsolved crime, unmasks the perpetrator, and puts an end to the effects of the villainy. Suspense is added as the protagonist struggles within the puzzle-like narrative to gather evidence and testimony, to investigate all motives, and to discover the one essential clue or fatal flaw/alibi that betrays the identity of the culprit. The detective (or main protagonist) often succeeds in cleverly trapping the killer or criminal where law-and-order officers and local police officials do not. Intensity, anxiety, and suspense build to an exciting climax, often with the detective (or protagonist) using his fists or gun to solve the crime. This genre has ranged from early mystery tales, fictional or literary detective stories, to classic Hitchcockian suspense-thrillers to classic private detective films. A related film sub-genre is that of spy films. If detection and the solution to a crime are not central to a 'mystery' film, then it blends into other genre film types, such as horror or suspense-thrillers. The Earliest Mysteries: Mysteries had their start in the early days of silent film. The most primitive serials, such as the well-known The Perils of Pauline (1914), possessed a degree of mystery. This film type blossomed as a full film category in the talking films of the 1930s, often borrowing from characters in popular literature. Detective films were widely popular during the 1930s and 1940s in B-series films. Sherlock Holmes Films: Sherlock Holmes, the world's first private detective, was derived from Sir Arthur Conan Doyle's works (his first SH novel was 1887's A Study in Scarlet (1887), followed by three other novels and 56 short stories). The Baker Street sleuth became the fictional character most frequently recurring on the screen. He has appeared in over 200 films since 1900 and been played by well over 70 actors. Holmes solved mysteries in hundreds of films with "elementary deductions" and with assistance from 221-B Baker Street sidekick assistant Dr. Watson. Their setting in 19th century England was updated in 1942 to the World War II era, with Holmes battling the Nazis. The only actor to have played both Sherlock Holmes and his assistant Dr. Watson was Reginald Owen (see below). The immortal, prototypical detective first appeared on the film screen in a 30-second, 1900 one-reeler (registered in 1903) from American Mutoscope and Biograph Company, titled Sherlock Holmes Baffled (1900). It was the first recorded detective film on record, made specifically for one-person mutoscope viewing machines in amusement arcades. Between 1921 and 1923, UK actor Eille Norwood played the Sherlock Holmes character almost 50 times in short two-reelers, and in two feature films (The Hound of the Baskervilles (1921, UK), and The Sign of Four (1923, UK)). He was the most prolific actor ever to portray Sherlock Holmes. Another of the earliest Holmes films was Albert Parker's silent 9-reeler Sherlock Holmes (1922) with John Barrymore. The first talkie Sherlock Holmes film was The Return of Sherlock Holmes (1929) with Clive Brook in the sleuthing lead role. The character was also popularly portrayed by many actors in the 1930s, including: Raymond Massey (in The Speckled Band (1931, UK), Massey's first talking picture) Robert Rendel (in The Hound of the Baskervilles (1932, UK)) Clive Brook (in Sherlock Holmes (1932)) Reginald Owen (in A Study in Scarlet (1933)) The Hound of the Baskervilles (1937, Germ.) (aka Der Hund von Baskerville), d. Carl Lamac, with Bruno Güttner as Holmes Two Merry Adventurers (1937, Germ.) (aka The Man Who Was Sherlock Holmes) - German actors Hans Albers & Heinz Rühmann pretended to be the famous duo of Sherlock Holmes and Dr. Watson Arthur Wontner portrayed Holmes in 5 films from 1931-1937: Sherlock Holmes' Fatal Hour (1931, UK) (aka The Sleeping Cardinal), based on Doyle's two stories, The Empty House and The Final Problem Sherlock Holmes and The Missing Rembrandt (1932, UK), based on Doyle's The Adventure of Charles Augustus Milverton The Sign of Four: Sherlock Holmes' Greatest Case (1932, UK) The Triumph of Sherlock Holmes (1935, UK), an adaptation of Doyle's The Valley of Fear Murder at the Baskervilles (1937, UK) (aka Silver Blaze) Basil Rathbone's 14 Sherlock Holmes Films (1939-1946): Its most familiar, popular figure was the British actor Basil Rathbone with an Inverness cape, deerslayer hat and curved-stem calabash pipe (accompanied by dull-witted, pipe-smoking Nigel Bruce as Watson - who wasn't so clumsy and buffoonish in the original writings), who appeared during the war years in 14 pictures from 1939 to 1946: Sherlock Holmes (Basil Rathbone) Dr. Watson (Nigel Bruce) The Hound of the Baskervilles (1939), 20th Century Fox The Adventures of Sherlock Holmes (1939), 20th Century Fox Universal Studios created the next 12 entries: Sherlock Holmes and the Voice of Terror (1942), in which Holmes was linked with the Allied war effort Sherlock Holmes and the Secret Weapon (1942), Holmes fought the Nazis, adapted from Doyle's short story The Adventure of the Dancing Men Sherlock Holmes in Washington (1943) Sherlock Holmes Faces Death (1943) The Spider Woman (1944) The Scarlet Claw (1944) The Pearl of Death (1944) The House of Fear (1945) The Woman in Green (1945) Pursuit to Algiers (1945) Terror by Night (1946) Dressed to Kill (1946) Other Sherlock Holmes Variations Through the 1970s: The Adventure of the Speckled Band (1949) (TV episode of NBC's "Your Show Time"), with Alan Napier as Holmes Sherlock Holmes (1954-1955) (TV series) - a half-hour TV series (of 39 half-hour episodes produced in France with an all-British cast), with Ronald Howard as Sherlock Holmes and Howard Marion-Crawford as Dr. Watson The Hound of the Baskervilles (1959, UK), Hammer Films, d. Terence Fisher, with Peter Cushing as Holmes Sherlock Holmes and the Deadly Necklace (1962, Germ.), d. Terence Fisher, with Christopher Lee Sherlock Holmes (1964-1965, and 1968) (BBC-TV series) - the series spanned two seasons in the U.K. The first batch was produced in 1964-65 and starred Douglas Wilmer in the title role. In the second season, 16 episodes were originally produced, although only five stories remain (The Hound of the Baskervilles, A Study in Scarlet, The Boscombe Valley Mystery, The Sign of Four and The Blue Carbuncle), with Peter Cushing The Private Life of Sherlock Holmes (1970, UK/US), directed by Billy Wilder, in colorful Panavision with Robert Stephens as Holmes, and Christopher Lee as Sherlock's brother Mycroft They Might Be Giants (1971), Universal, with George C. Scott (as Justin, who believed that he was Sherlock Holmes) The Hound of the Baskervilles (1972) (ABC-TV movie), with Stewart Granger as Holmes The Adventure of Sherlock Holmes' Smarter Brother (1975, US/UK), a comedy with actor/director/writer Gene Wilder (his directorial debut film) as Holmes' younger brother Sigerson Holmes (an alias used by Sherlock); Douglas Wilmer portrayed Sherlock Holmes Sherlock Holmes in New York (1976) (NBC-TV movie), with Roger Moore Silver Blaze (1977, UK/Can.) (25-minute TV movie), with Christopher Plummer as Sherlock Holmes, d. John Davies The Hound of the Baskervilles (1978, UK), d. Paul Morrissey, a comedy spoof with Peter Cook as Holmes Sherlock Holmes also appeared in various TV episodes: in the cartoon series Teenage Mutant Ninja Turtles, in the animated TV series Batman: The Brave and the Bold, and in the TV drama series CSI: Crime Scene Investigation. The TV-movie/pilot Sherlock (2002) starred James D'Arcy as Sherlock and Roger Morlidge as Watson Another modern, updated BBC-TV series composed of three feature-length episodes, titled Sherlock: Season One (2010), found the sleuths (Benedict Cumberbatch and Martin Freeman) solving crimes in present-day London Curious Adaptations of Sherlock Holmes: Mr. Magoo's Sherlock Holmes (1965), an animated short which aired in 1965 (as part of the mid-1960s TV series The Famous Adventures of Mr. Magoo), with Paul Frees as the voice of Sherlock Holmes A Study in Terror (1965, UK), and Murder by Decree (1979, UK/Can.), in these two mystery-thrillers, Sherlock Holmes (John Neville, Christopher Plummer) and Dr. Watson (Donald Houston, James Mason) were in pursuit of Jack the Ripper The Seven-Per-Cent Solution (1976, UK/US), Sherlock Holmes (Nicol Williamson) was treated for cocaine addiction by Dr. Sigmund Freud (Alan Arkin) in Vienna; also with Robert Duvall as Dr. Watson/Narrator Time After Time (1979), in the sci-fi time travel film, H.G. Wells (Malcolm McDowell) claimed to be "Sherlock Holmes" The Adventures of Sherlock Holmes (1984, UK) (TV show series, 1984-1985), with Jeremy Brett as Sherlock Holmes in 13 episodes (in two seasons) Sherlock Hound (1984-, Jp.), animated TV show from 1984-1985 (26 episodes), a canine version of the Holmes story Young Sherlock Holmes (1985), directed by Barry Levinson, with Nicholas Rowe as the teen version of Sherlock Holmes, with a script by Chris Columbus; noted for ground-breaking special effects - it was the first feature film to have a completely CGI character: the stained-glass window knight Without a Clue (1988, UK), a comedy in which Dr. Watson (Ben Kingsley) claimed that Holmes was only his fictional creation, allowing him to solve crimes incognito - actor Reginald Kincaid (Michael Caine) was hired to impersonate "Holmes" Most recently, the adventures of Sherlock Holmes have been portrayed in a pair of director Guy Ritchie action films, starring Robert Downey, Jr (as Holmes) and Jude Law (as Dr. Watson); unique in that Holmes was a martial-arts specialist in Wing-Chun Kung Fu: Sherlock Holmes (2009) Sherlock Holmes: A Game of Shadows (2011), a sequel Also, there were these versions, on TV and the big screen: Sherlock (2010-, UK), the continuing BBC's Emmy-winning TV series about a "new sleuth for the 21st century," with Benedict Cumberbatch as Sherlock and Martin Freeman as Dr. Watson Elementary (2012-), the continuing CBS-TV series was set in NYC, starring drug-addicted Holmes (Jonny Lee Miller) and his recovery sponsor Dr. Joan Watson (Lucy Liu) Mr. Holmes (2015, UK/US), by director Bill Condon (based upon the novel A Slight Trick of the Mind), with Ian McKellen as 93 year-old retired detective Holmes Foreign Sleuths: Charlie Chan - Short who-dun-its in the 1930s and 40s featured the B-movie, Canton-born, Honolulu-based Oriental sleuth Charlie Chan, derived from Earl Derr Biggers' works, and based on real-life Hawaiian cop Chang Apana (very unlike the movie version). The round-faced, meticulous sleuth was one of the screen's most prolific detectives, with 46 Chan films and one serial from 1926 to 1949. [Charlie Chan was never played on the screen by a Chinese actor.] Detective Charlie Chan was introduced in Pathe's 10-part serial The House Without a Key (1926) - portrayed by Japanese actor George Kuwa. The second screen appearance was in Universal's and German director Paul Leni's The Chinese Parrot (1927), with Japanese actor Kamiyama Sojin in the lead role (the film was remade as Charlie Chan's Courage (1934)). The first sound Charlie Chan film was Fox's Behind That Curtain (1929), with Korean actor E.L. Park as the sleuth. The character was best played by Swedish actor Warner Oland (from 1931-1937 in 16 films), who portrayed Chan as a dapper fellow who was always polite and unassertive but nevertheless was solving the crime using physical evidence and logical deduction. The sly, composed Charlie Chan would eloquently spout Confucius-type proverbs, aphorisms, and wisdom in pidgin English, achieved by dropping definite articles and verbs: ("difficult to catch fly with one finger," "bad alibi like dead fish - can't stand test of time," "Joy in heart more desirable than bullet," "must not too soon come to conclusion," "Perfect case like perfect doughnut - has hole" and "silence is golden, except in police station," for example), always with a courteous, paternalistic, and inquisitive manner. The series continued, with less noteworthy quality, with American actor Sidney Toler (1938-1947 in 22 appearances), and American film and TV character actor Roland Winters (1947-1949 in 6 films) as the sixth and last screen Chan. Fox was responsible for the Chan films from 1929-1942, followed by Monogram (from 1944-1949). Charlie Chan also appeared on TV in 39 half-hour episodes, The New Adventures of Charlie Chan, during 1957-58: Behind That Curtain (1929), Fox's first film, with E.L. Park as Chan; first sound film in series With Warner Oland (1931-1937) Charlie Chan Carries On (1931) - lost film The Black Camel (1931) Charlie Chan's Chance (1932) - lost film Charlie Chan's Greatest Case (1933) - lost film Charlie Chan's Courage (1934) - lost film Charlie Chan in London (1934) Charlie Chan in Paris (1935) Charlie Chan in Egypt (1935) Charlie Chan in Shanghai (1935) Charlie Chan's Secret (1936) Charlie Chan at the Circus (1936) Charlie Chan at the Race Track (1936) Charlie Chan at the Opera (1936) - one of the best (in terms of script and direction) Charlie Chan at the Olympics (1937) Charlie Chan on Broadway (1937) Charlie Chan at Monte Carlo (1937) With Sidney Toler (1938-1947) Charlie Chan in Honolulu (1938) Charlie Chan in Reno (1939) Charlie Chan at Treasure Island (1939) - possibly the best in the series (Charlie Chan in) City in Darkness (1939) Charlie Chan in Panama (1940) Charlie Chan's Murder Cruise (1940) Charlie Chan at the Wax Museum (1940) - one of the best Murder Over New York (1940) Dead Men Tell (1941) Charlie Chan in Rio (1941) Castle in the Desert (1942) - the final 20th Century Fox film in the series Charlie Chan in the Secret Service (1944) - the first at a new, low-budget studio, Monogram Charlie Chan in the Chinese Cat (1944) (Charlie Chan in) Black Magic (1944) (Charlie Chan in) The Jade Mask (1945) (Charlie Chan in) The Scarlet Clue (1945) (Charlie Chan in) The Shanghai Cobra (1945) (Charlie Chan in) The Red Dragon (1945) (Charlie Chan in) Dark Alibi (1946) (Charlie Chan in) Shadows Over Chinatown (1946) (Charlie Chan in) Dangerous Money (1946) (Charlie Chan in) The Trap (1947)With Roland Winters (1947-1949) (Charlie Chan in) The Chinese Ring (1947) (Charlie Chan in) Docks of New Orleans (1948) (Charlie Chan in) Shanghai Chest (1948) (Charlie Chan in) The Golden Eye (1948) (Charlie Chan in) The Feathered Serpent (1948) (Charlie Chan in) The Sky Dragon (1949) Foreign Sleuths: Mr. Moto - To compete with Charlie Chan, another Far-Eastern sleuth - of Japanese descent, derived from the I.A. Moto character in Pulitzer Prize-winning John P. Marquand's novels (which first appeared as Saturday Evening Post serials), was developed by 20th Century Fox, and named Mr. Moto. Hungarian-born German actor Peter Lorre (in his 7th American film role) starred in the title role as the enigmatic, quiet, self-effacing, unobtrusive, spectacle-wearing and brilliant detective in the eight-film series (produced in less than three years from 1937-1939): Think Fast, Mr. Moto (1937) Thank You, Mr. Moto (1937) - the best in the series Mr. Moto's Gamble (1938) Mr. Moto Takes a Chance (1938) The Mysterious Mr. Moto (1938) - another great one Mr. Moto's Last Warning (1939) Mr. Moto in Danger Island (1939) Mr. Moto Takes a Vacation (1939) Mr. Moto was resurrected 26 years later, to compete with the popular James Bond action series, with Caucasian actor Henry Silva as the quizzical Moto, in The Return of Mr. Moto (1965). Mr. Wong - A fictional Chinese-American detective, named James Lee Wong (simply Mr. Wong) created by Hugh Wiley (for a series of stories in Colliers Magazine in the mid-1930s) was the lead character in a series of six films from Monogram Pictures. In the first five films, Boris Karloff took the lead role. In the sixth (and final) film in the Mr. Wong series, Phantom of Chinatown (1940), Chinese-American actor Keye Luke took the role of the title character. This marked the first time an American film featured an Asian character as a lead Asian detective. Mr. Wong Detective (1938) The Mystery of Mr. Wong (1939) Mr. Wong in Chinatown (1939) The Fatal Hour (1940) Doomed to Die (1940) Phantom of Chinatown (1940) The Thin Man Series - (Nick and Nora Charles) The most popular film detectives of the 1930s were a delightful, high-society sleuthing couple: the inebriated Nick Charles with his wife Nora (and dog Asta). The characters in MGM's The Thin Man (1934) were derived from Dashiell Hammett's 1934 novel of the same title. The sophisticated, wise-cracking, boozing couple (magnificently portrayed by William Powell and Myrna Loy) managed to solve crimes and crack jokes in a long series of screwball-mystery gems. After their first film in 1934, there were five more grade-A sequels from 1936-1947 from MGM, although none were as good as their first effort. The first four films were directed by W.S. Van Dyke: The Thin Man (1934) After the Thin Man (1936) Another Thin Man (1939) Shadow of the Thin Man (1941) The Thin Man Goes Home (1945), d. Richard Thorpe Song of the Thin Man (1947), d. Edward Buzzell Peter Lawford and Phyllis Kirk portrayed the pair for three seasons on NBC-TV in The Thin Man from 1957-1959, in 72 30-minute episodes. Bulldog Drummond - Another literary figure from "Sapper's" (Herman Cyril McNeile) famed detective novels - Captain Hugh "Bulldog" Drummond - became the featured suave, gentleman-spy hero in many films mostly made between the silents through to the late 40s. Drummond battled foreign agents, kidnappers, spies, and other villains during his adventurous exploits. The detective was portrayed by, among others: Ronald Colman in Bulldog Drummond (1929) - Colman's talkie debut Ronald Colman in Bulldog Drummond Strikes Back (1934) Ralph Richardson in The Return of Bulldog Drummond (1934, UK) [Note: He portrayed the villain in Bulldog Jack (1935)] Atholl Fleming in Bulldog Jack (1935, UK) (aka Alias Bulldog Drummond) Ray Milland in Bulldog Drummond Escapes (1937) John Lodge in Bulldog Drummond at Bay (1937) John Howard in Bulldog Drummond's Revenge (1937), Bulldog Drummond Comes Back (1937), Bulldog Drummond's Peril (1938), Bulldog Drummond in Africa (1938), Arrest Bulldog Drummond (1939), Bulldog Drummond's Bride (1939), and Bulldog Drummond's Secret Police (1939) Ron Randell in Bulldog Drummond at Bay (1947) and Bulldog Drummond Strikes Back (1947) - Columbia Pictures' ill-fated attempt to revive the series Tom Conway in The Challenge (1948) and 13 Lead Soldiers (1948) Walter Pidgeon in Calling Bulldog Drummond (1951, UK) Bulldog Drummond was resurrected for a short period of time in the mid-to-late 1960s as a resourceful British agent, during the flurry of James Bond imitators: Richard Johnson in Deadlier Than the Male (1967, UK) Richard Johnson in Some Girls Do (1969, UK) Boston Blackie - Columbia Pictures presented fourteen low-budget installments of another detective series (from 1941 to 1949) titled Boston Blackie, starring square-jawed Chester Morris in the lead role as a former jewel thief/con artist and debonair tough guy who reformed himself and turned detective. The series was based on the 1910 book by Jack Boyle, and the wise-cracking character first appeared in various silent era versions: Boston Blackie's Little Pal (1918), Metro, with Bert Lytell as the safe-cracker Boston Blackie (1923), Fox, starring William Russell The Return of Boston Blackie (1927), Chadwick, with Raymond Glenn (Bob Custer) The 14 mass-produced Columbia Pictures films in the 1940s, often training grounds for a number of future prominent directors, were: Meet Boston Blackie (1941), d. Robert Florey Confessions of Boston Blackie (1941), d. Edward Dmytryk - one of the best in the series Alias Boston Blackie (1942), d. Lew Landers Boston Blackie Goes Hollywood (1942), d. Michael Gordon After Midnight With Boston Blackie (1943), d. Lew Landers The Chance of a Lifetime (1943), d. William Castle (his debut film) One Mysterious Night (1944), d. Bud Boetticher, Jr. Boston Blackie Booked on Suspicion (1945), d. Arthur Dreifuss Boston Blackie's Rendezvous (1945), d. Arthur Dreifuss A Close Call for Boston Blackie (1946), d. Lew Landers The Phantom Thief (1946), d. D. Ross Lederman Boston Blackie and the Law (1946), d. D. Ross Lederman Trapped by Boston Blackie (1948), d. Seymour Friedman Boston Blackie's Chinese Venture (1949), d. Seymour Friedman On television, there were 58 half-hour episodes in a 1951 Boston Blackie series, with Kent Taylor as the sleuth. The Shadow - A crime-fighting vigilante, The Shadow was based upon the Walter B. Gibson character created in the early 1930s. He made his first appearance on July 31, 1930, as the mysterious narrator of a radio program titled The Detective Story Hour. In 1931 and 1932, Universal Pictures created a series of six film shorts based on the popular Detective Story Hour radio program, narrated by The Shadow. A pulp series detective magazine from Street & Smith was also dedicated exclusively to The Shadow. The magazine was titled The Shadow - A Detective Magazine, published in April of 1931, and it featured The Shadow in his first literary pulp story, "The Living Shadow." It was created and primarily written by the prolific Walter B. Gibson, who had been hired by the publisher to create a backstory. Author Gibson refashioned the sinister narrator of CBS Radio's The Detective Story Hour into a dark super-hero - a super-sleuth who often battled against super-criminals. Then, in September of 1937, The Shadow radio drama premiered, and the first full-length feature film about The Shadow was released by Grand National Pictures. His alter-ego was Lamont Cranston, an amateur criminologist and detective, a wealthy crime-fighter who often wore black, a trench coat, and a face-concealing mask. The words that introduced The Shadow in the radio program (and the films) have become immortalized: "Who knows what evil lurks in the hearts of men? Only the Shadow knows!" The Shadow Strikes (1937), Grand National Pictures, with Rod La Roque as Lamont Cranston/The Shadow [Based upon the pulp adventure story "The Ghost of the Manor" by Walter Gibson] International Crime (1938), Grand National Pictures, with Rod La Roque as Lamont Cranston/The Shadow The Shadow (1940), a 15-part serial from Columbia Pictures, with Victor Jory as Lamont Cranston/The Shadow, battling the villainous Black Tiger The Shadow Returns (1946), Monogram Pictures, with Kane Richmond as Lamont Cranston/The Shadow Behind the Mask (1946), Monogram Pictures, with Kane Richmond as Lamont Cranston/The Shadow The Missing Lady (1946), Monogram Pictures, with Kane Richmond as Lamont Cranston/The Shadow The Shadow (1954) (TV short, 25-minute pilot episode), with Tom Helmore as Lamont Cranston/The Shadow Invisible Avenger (1958), with Richard Derr as Lamont Cranston/The Shadow [A feature film composed of two segments or episodes of Republic Pictures' TV pilot made in 1957] - re-released as Bourbon Street Shadows (1962), about the investigation of the murder of a New Orleans jazz bandleader. The Shadow (1994), with Alec Baldwin as The Shadow/Lamont Cranston British Detectives: The Saint (Simon Templar) - One of the most popular, long-running mystery film series of the late 1930s through the early 40s featured the Saint, a mysterious, sophisticated, and debonair British detective named Simon Templar. The half-crooked sleuth, a rogue-turned crusader for Scotland Yard, was derived from Leslie Charteris' popular crime novels of the late 20s. Eight films (of the nine films) in the 15-year long series were from RKO, with one entry from Republic in 1943. In the first and last Saint films, Louis Hayward played the role of Simon Templar. The other two actors were George Sanders and Hugh Sinclair: The Saint in New York (1938), RKO, with Louis Hayward, the best in the series The Saint Strikes Back (1939), RKO, with George Sanders The Saint in London (1939), RKO, with George Sanders The Saint's Double Trouble (1940), RKO, with George Sanders The Saint Takes Over (1940), RKO, with George Sanders The Saint in Palm Springs (1941), RKO, with George Sanders The Saint's Vacation (1941), RKO, with Hugh Sinclair The Saint Meets the Tiger (1943), Republic, with Hugh Sinclair The Saint's Girl Friday (1953), RKO, with Louis Hayward On television in the British-made series of hour-long shows in the mid-1960s, Roger Moore portrayed the worldly traveler. British Detectives: The Falcon - Another hardboiled detective, a suave and sophisticated sleuth named the Falcon, was featured in another RKO series during the 1940s - almost a carbon-copy of RKO's former Saint. The debonair and aristocratic Falcon character was taken from Michael Arlen's detective stories. In six years, there were 13 black and white films in the RKO series. Various actors portrayed the Britisher (named Gay Falcon, Tom Falcon, and Mike Waring) in the 16 Falcon pictures, including the former Saint George Sanders (1941-1942) in the first four, and then Tom Conway (Sander's real-life brother) in the next nine (from 1943-1946). After a two-year break, independent low-budget Film Classics bought the rights to the Falcon, and produced three more entires with John Calvert (1948-49): The Gay Falcon (1941) A Date with the Falcon (1941) The Falcon Takes Over (1942) - with most of its plot borrowed from Raymond Chandler's Farewell, My Lovely, and remade two years later as Murder, My Sweet (1944) with Dick Powell The Falcon's Brother (1942) - Sanders and Conway co-starred The Falcon Strikes Back (1943) The Falcon and the Co-Eds (1943) The Falcon in Danger (1943) The Falcon in Hollywood (1944) The Falcon in Mexico (1944) The Falcon Out West (1944) The Falcon in San Francisco (1945) The Falcon's Alibi (1946) The Falcon's Adventure (1946) The Devil's Cargo (1948), Film Classics Appointment with Murder (1948), Film Classics Search for Danger (1949), Film Classics On TV during 1954-55, the Falcon (Mike Waring) was portrayed by Charles McGraw in 39 30-minute episodes. Agatha Christie's Adaptations: The prodigious works of British mystery author Agatha Christie (a total of 72 novels, 160 short stories, and 15 stage plays) provided a great source for a number of classic detective film mysteries. One was 20th Century Fox's atmospheric And Then There Were None (1945) (aka Ten Little Niggers (UK)) from director Rene Clair. It was often remade (for feature films or TV movies) with Christie's original novel title Ten Little Indians (or Ten Little Niggers): Ten Little Niggers (1949, UK) (TV) - lost film Ten Little Indians (1959) (TV) Agatha Christie's 'Ten Little Indians' (1965, UK) (aka Ten Little Indians) Ten Little Indians (1974, It./W.Germ./Fr./Sp./UK) - the first English language color version Ten Little Indians (1989, UK) [Christie's book was first published as Ten Little Niggers in the UK in 1939, and then in 1940 as And Then There Were None in the US (the offensive title was changed). It was adapted in 1943 by the author and titled Ten Little Niggers in the UK for its stage opening in 1943. It was retitled Ten Little Indians for its US stage opening in 1944. In further film versions, UK's Seven Arts Films moved the setting to a remote mountain top castle in the Austrian Alps and released the film as Ten Little Indians (1965, UK). Avco-Embassy, Inc., produced a third film version titled Ten Little Indians (1974), with the setting in a remote hotel in the Iranian desert. In its fourth incarnation titled Ten Little Indians (1989, UK), Breton Films moved the locale to an African safari.] A four-character short story by Christie was made into a London/Broadway stage hit and was filmed by famed director Billy Wilder as Witness for the Prosecution (1957). Agatha Christie's Master Sleuth: Hercule Poirot - And in the 1970s and 80s and afterwards (and even in the 1930s), there were a few screen who-dun-its derived from the works of Agatha Christie with all-star casts, featuring Christie's colorful, insufferable, meticulous and fussy Belgian sleuth Hercule Poirot. The films (and stars) included: Alibi (1931, UK), Black Coffee (1931, UK), and Lord Edgware Dies (1934, UK) - with Austin Trevor The Alphabet Murders (1965, UK) (aka The ABC Murders) - with Tony Randall Murder on the Orient Express (1974, UK) - with Albert Finney Death on the Nile (1978, UK) - with Sir Peter Ustinov Evil Under the Sun (1982, UK) - with Peter Ustinov Thirteen at Dinner (1985, UK/US) - TV movie - with Peter Ustinov Dead Man's Folly (1986, UK/US) - TV movie - with Peter Ustinov Murder in Three Acts (1986, UK/US) - TV movie - with Peter Ustinov Murder by the Book (1986, UK/Can.) - TV movie - with Ian Holm Appointment with Death (1988) - with Peter Ustinov Agatha Christie's Poirot (1989-2013) - TV series - with David Suchet Murder on the Orient Express (2001) - TV movie - with Alfred Molina Agatha Christie's Famous Female Detective: Miss Marple - The character of Agatha Christie's Miss Jane Marple, a gray-haired, wily, spinsterish detective, was also portrayed in the movies and on TV over many years, beginning in the 1930s, and prominent in the 1960s (with four films starring Margaret Rutherford) and afterwards. The films (and stars) included: Murder She Said... (1961, UK) - (based on Christie's 4:50 From Paddington) - with Margaret Rutherford Murder at the Gallop (1963, UK) - (based on Christie's After the Funeral) - with Margaret Rutherford Murder Most Foul (1964, UK) - (based on Christie's Mrs. McGinty's Dead) - with Margaret Rutherford Murder Ahoy (1964, UK) - (some plot borrowings from Christie's They Do It With Mirrors) - with Margaret Rutherford The Mirror Crack'd (1980) - with Angela Lansbury A Caribbean Mystery (1983) - TV movie - with Helen Hayes Agatha Christie's Miss Marple: (approx. 1984-1992) - BBC TV Mini-series and Masterpiece Mystery (many titles) and TV movies - with Joan Hickson Murder with Mirrors (1985) - TV movie - with Helen Hayes Agatha Christie's Marple (approx. 2004-2007) - ITV series (12 episodes) - with Geraldine McEwan Agatha Christie's Marple (approx. 2008-2013) - ITV/Acorn series (11 episodes) - with Julia McKenzie Another of the best of the late 40s murder mysteries from Britain was director Sidney Gilliat's film Green For Danger (1947), featuring Alistair Sim as Scotland Yard Inspector Cockrill. Other Fictional Crime Fighters: Philo Vance - The gentlemanly, artistocratic, independently-wealthy New Yorker, amateur detective Philo Vance was introduced in the works of Willard Huntington Wright (S.S. Van Dine), first in his 1926 novel The Benson Murder Case. Thin Man star William Powell and others portrayed Philo Vance from 1929 to 1947: The Canary Murder Case (1929), (in silent and sound versions) Paramount, William Powell The Greene Murder Case (1929), Paramount, William Powell The Bishop Murder Case (1930), MGM, Basil Rathbone The Benson Murder Case (1930), Paramount, William Powell The Kennel Murder Case (1933), WB, William Powell The Dragon Murder Case (1934), WB, Warren William The Casino Murder Case (1935), MGM, Paul Lukas The Garden Murder Case (1936), MGM, Edmund Lowe The Scarab Murder Case (1936, UK), Paramount/British, Wilfrid Hyde-White (lost film) Night of Mystery (1937), Paramount, Grant Richards (rare or lost film) The Gracie Allen Murder Case (1939), Paramount, Warren William Calling Philo Vance (1940), WB, James Stephenson Philo Vance Returns (1947), PRC (Producers Releasing Corp.), William Wright Philo Vance's Gamble (1947), PRC, Alan Curtis Philo Vance's Secret Mission (1947), PRC, Alan Curtis Other Fictional Crime Fighters: The Lone Wolf - During the silent era, Bert Lytell often played the crime sleuth Michael Lanyard (The Lone Wolf), derived from the novels by Louis Joseph Vance. The Lone Wolf invariably was an international ex-jewel thief who also served on the side of the law after a change of heart. The Columbia series was capped by nine performances from Warren William (from 1939-1943) as the upper-class retired crook: The Lone Wolf Returns (1935), Columbia, Melvyn Douglas (also made as a silent film in 1926 also by Columbia) The Lone Wolf in Paris (1938), Columbia, Francis Lederer The Lone Wolf Spy Hunt (1939), Columbia, Warren William The Lone Wolf Keeps a Date (1940 or 1941), Columbia, Warren William The Lone Wolf Meets a Lady (1940), Columbia, Warren William The Lone Wolf Strikes (1940), Columbia, Warren William The Lone Wolf Takes a Chance (1941), Columbia, Warren William Secrets of the Lone Wolf (1941), Columbia, Warren William Counter-Espionage (1942) (aka The Lone Wolf in Scotland Yard), Columbia, Warren William One Dangerous Night (1943), Columbia, Warren William Passport to Suez (1943), Columbia, Warren William The Notorious Lone Wolf (1946), Columbia, Gerald Mohr The Lone Wolf in Mexico (1947), Columbia, Gerald Mohr The Lone Wolf in London (1947), Columbia, Gerald Mohr The Lone Wolf and His Lady (1949), Columbia, Ron Randell On television, Louis Hayward portrayed the Lone Wolf in 1954's 39-part series (of half-hour shows) entitled Streets of Danger. Other Fictional Crime Fighters or Sleuths: Hildegarde Withers - The 40ish, crime-solving, frumpy, spinsterish schoolteacher in NYC, a version of Agatha Christie's Miss Marple, was the fictional creation of Stuart Palmer. His second novel in 1931 with the character was titled The Penguin Pool Murder - also the title of the first feature film. Edna May Oliver, the definitive character, played the gaunt, thin Miss Withers in the first three films from RKO Radio Pictures in the mid-1930s. Her comic foil in all six of the murder mystery film series was Inspector Oscar Piper (James Gleason). Penguin Pool Murder (1932) - RKO, with Edna May Oliver Murder on the Blackboard (1934) - RKO, with Edna May Oliver Murder on a Honeymoon (1935) - RKO, with Edna May Oliver Murder on a Bridle Path (1936) - RKO, with Helen Broderick The Plot Thickens (1936) - RKO, with ZaSu Pitts Forty Naughty Girls (1937) (aka The Riddle of the 40 Naughty Girls) - RKO, with ZaSu Pitts There was also A Very Missing Person (1972) (CBS-TV movie) starring Eve Arden as Miss Withers. Ellery Queen - A smart, scholarly and analytical crime-solver named Ellery Queen was a recurring who-dun-it detective-hero derived from the late 1920s novels of cousins Frederic Dannay and Manfred Bennington Lee (who used "Ellery Queen" as their joint pseudonym). Ellery Queen appeared for the first time in the detective mystery novel The Roman Hat Mystery (1929). In the mid-30s, Republic was the first studio to release low-budget films about Ellery Queen, a brilliant amateur detective. These were followed by seven films from Columbia Pictures (from 1940-1942), with two actors, Ralph Bellamy (1940-1941) and William Gargan (1942) in the lead role. The Spanish Cape Mystery (1935), Republic, Donald Cook The Mandarin Mystery (1936), Republic, Eddie Quillan Ellery Queen, Master Detective (1940), Columbia, Ralph Bellamy Ellery Queen's Penthouse Mystery (1941), Columbia, Ralph Bellamy Ellery Queen and the Perfect Crime (1941), Columbia, Ralph Bellamy Ellery Queen and the Murder Ring (1941), Columbia, Ralph Bellamy A Close Call for Ellery Queen (1942), Columbia, William Gargan A Desperate Chance for Ellery Queen (1942), Columbia, William Gargan Enemy Agents Meet Ellery Queen (1942), Columbia, William Gargan There were other iterations of the character in many TV shows-movies or series, beginning in 1950: The Adventures of Ellery Queen was a live ABC TV show from 1950-1952 with Richard Hart (and then Lee Bowman) as Ellery Queen Hugh Marlowe starred in the 1954-1957 The Adventures of Ellery Queen (TV series) George Nader and Lee Philips starred in the 1958-1959 The Further Adventures of Ellery Queen (TV series) Peter Lawford starred in the TV movie Ellery Queen: Don't Look Behind You (1971) (TV) Following the TV show's cancellation in 1959 and a 16-year delay, Ellery was revived and returned to TV for one-season, with the title shortened to simply Ellery Queen. The made-for-TV pilot film Ellery Queen (1975) (aka Too Many Suspects) preceded Ellery Queen (a 1975-1976 TV series for one season on NBC, with 22 episodes) that starred Jim Hutton as the great fictional detective.
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"https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/1368a6c6c6ab/sub-buzz-9005-1715823088-1.jpg", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/1368a6c6c6ab/sub-buzz-9005-1715823088-1.jpg", "https://img.buzzfeed.com/store-an-image-prod-us-east-1/wsJnPN0Fy.png", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/15/22/asset/7d6515f05dcb/anigif_sub-buzz-1228-1715811768-1_preview.gif?output-quality=auto&output-format=auto&downsize=360:", "https://img.buzzfeed.com/store-an-image-prod-us-east-1/wsJnPN0Fy.png", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/28a155534d80/sub-buzz-10978-1715823403-2.jpg", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/28a155534d80/sub-buzz-10978-1715823403-2.jpg", "https://img.buzzfeed.com/store-an-image-prod-us-east-1/wsJnPN0Fy.png", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/7d6515f05dcb/sub-buzz-1962-1715822516-1.jpg", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/16/1/asset/7d6515f05dcb/sub-buzz-1962-1715822516-1.jpg", "https://img.buzzfeed.com/store-an-image-prod-us-east-1/wsJnPN0Fy.png", "https://img.buzzfeed.com/buzzfeed-static/static/2024-05/15/22/asset/1c31cc6e60b0/anigif_sub-buzz-12754-1715811072-1_preview.gif?output-quality=auto&output-format=auto&downsize=360:*", "https://img.buzzfeed.com/store-an-image-prod-us-east-1/wsJnPN0Fy.png" ]	[]	[]	[ "" ]	null	[ "Jeremy Hayes" ]	2024-05-20T13:16:02+00:00	These films are like puzzles in the form of talking pictures.	en	/static-assets/_next/static/images/favicon-496b7cee633e6a7dca162654e1bb39c9.ico	BuzzFeed	https://www.buzzfeed.com/jeremyhayes/mystery-movies	These films are like puzzles in the form of talking pictures. Mystery movies are like complex puzzles waiting to be solved by you...yes, you...the audience member. It's fun to put on a metaphorical detective hat while following all the breadcrumbs the director and writer leave behind to unravel the enigma at the story's heart. The stories vary from dramatic to funny to scary. Here are some great mystery films that you can watch now to stimulate your inner problem-solving skills: 1. 7 Women and a Murder 5. Se7en 6. Missing 7. Shutter Island 8. The Prestige 9. North by Northwest 10. Get Out 11. Rear Window 12. The Sixth Sense 13. Oldboy 14. Psycho 15. Citizen Kane 16. The Thing 17. Gone Girl 18. Murder on the Orient Express (2017) 19. Zodiac 20. Knives Out 21. The Girl with the Dragon Tattoo (2011) 22. Memento 23. The Batman Do you have any mystery movies to recommend? Comment the titles below! Share This Article
6282	dbpedia	2	0	https://en.wikipedia.org/wiki/The_Secret_of_the_Whistler	en	The Secret of the Whistler	https://upload.wikimedia…poster_small.jpg	https://upload.wikimedia…poster_small.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/4/43/Secret_of_the_whistler_poster_small.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-09-29T16:01:46+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Secret_of_the_Whistler	1946 film by George Sherman The Secret of the WhistlerDirected byGeorge ShermanScreenplay by Richard H. Landau Raymond L. Schrock Based onThe Whistler 1942-55 radio series by J. Donald WilsonProduced byRudolph C. FlothowStarring Richard Dix Leslie Brooks Michael Duane Narrated byOtto ForrestCinematographyAllen G. SieglerEdited byDwight CaldwellMusic byHerschel Burke Gilbert Production company Larry Darmour Productions Distributed byColumbia Pictures Release date Running time 65 minutesCountryUnited StatesLanguageEnglish The Secret of the Whistler is a 1946 American mystery film noir based on the radio drama The Whistler. Directed by George Sherman, the production features Richard Dix, Leslie Brooks and Michael Duane.[1] It is the sixth of Columbia Pictures' eight "Whistler" films produced in the 1940s, all but the last starring Dix. Plot [edit] Ralph Harrison (Richard Dix) is married to Edith (Mary Currier), a rich woman who has been suffering heart attacks. Upset by her condition, he finds consoling companionship with an artist's model, the unscrupulous gold-digger Kay (Leslie Brooks). He falls in love with Kay. Edith's health then improves. Edith overhears Ralph professing his love for Kay. Edith threatens Ralph, saying she's going to take him out of her will. He decides to poison her, with her own medicine, before she can meet with her lawyers. After Edith dies, Ralph marries Kay, who becomes suspicious of how Edith died and worried for her own fate. Finding incriminating diary pages and the medicine, she has the medicine analyzed, discovering that it was poisoned. Ralph overhears Kay's phone conversation with the lab. Pretending to embrace her, he strangles her to death, just as the police arrive and arrest him for murder - but not for the murder of Edith, because she had not taken the poisoned medicine but died of a heart attack. Cast [edit] Richard Dix as Ralph Harrison Leslie Brooks as Kay Morrell Michael Duane as Artist Jim Calhoun Mary Currier as Edith Marie Harrison Mona Barrie as Linda Vail Ray Walker as Joseph Aloysius 'Joe' Conroy Claire Du Brey as Laura - Harrison's Servant Otto Forrest as The Whistler Reception [edit] TV Guide rated it 3/5 stars and called it "engrossing as usual and well acted".[2] References [edit]
6282	dbpedia	3	46	https://www.pastemagazine.com/movies/horror-movies/best-serial-killer-movies-of-all-time	en	The 50 Best Serial Killer Movies of All Time	https://image-pastemagaz…-main-Custom.jpg	https://image-pastemagaz…-main-Custom.jpg	[ "https://img.pastemagazine.com/wp-content/uploads/2022/06/20184258/lecter-serial-killer-list-main-Custom.jpg", "https://img.pastemagazine.com/wp-content/uploads/2022/06/21015002/pieces-1982-inset-Custom.jpg", "https://img.pastemagazine.com/wp-content/uploads/2022/06/20184349/clovehitch-killer-inset.jpg", "https://img.pastemagazine.com/wp-content/uploads/2022/06/20184349/clovehitch-killer-inset.jpg", "https://img.pastemagazine.com/wp-content/uploads/2022/06/20184347/the-hitcher-1986-inset-Custom.gif", "https://img.pastemagazine.com/wp-content/uploads/2022/06/20184347/the-hitcher-1986-inset-Custom.gif", "https://img.pastemagazine.com/wp-content/uploads/2022/06/21040228/the-boy-behind-the-door-header.jpg", 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"https://img.pastemagazine.com/wp-content/uploads/2022/06/20235240/100-horror-psycho-Custom.jpg" ]	[]	[]	[ "" ]	null	[ "Jim Vorel" ]	2023-10-17T12:36:00+00:00	They're the stuff of generations of nightmares—come with us on a blood-soaked journey through cinema's most scary serial killer movies.	en	https://www.pastemagazin…ile-icon-196.png	Paste Magazine	https://www.pastemagazine.com/movies/horror-movies/best-serial-killer-movies-of-all-time	As recently as 2017, it was estimated by one nonprofit organization studying unsolved murders in the FBI database that there may be as many as 2,000 serial killers active in the United States at any given time. Suffice it to say, they’re not all the stuff of classic horror movie plotting. Few are cannibals. Few live in rambling old mansions with secret passages and a private dungeon in the basement. Even fewer leave behind fiendishly complex cryptographs for a harried, chainsmoking detective and his partner to debate over plates of greasy diner eggs and black coffee. The more frightening reality is that many of them pass as the “average” people we interact with every day. That’s how these stories seem to go: A serial killer is not the sinister-looking stranger who just rolled into town; it’s that quiet next door neighbor who “kept to himself, mostly.” But that’s not what you see in serial killer movies. Perhaps that’s why cinema has such a fascination with the more grandiose, manic version of the serial killer—these stories thrill us even as they’re distracting us from the more pressing danger and mundanity of everyday evil. Regardless, the concept of “a killer on the loose” has been rich cinematic soil for almost as long as film has existed. Go all the way back to 1920’s The Cabinet of Dr. Caligari and what you basically have is a serial killer story—albeit, one in which the murders are being carried out by a hypnotized somnambulist. But the point stands. Below, we’ve gathered the 50 greatest films about serial killers: a nightmare gallery of murderers both fantastical and disturbingly everyday. Granted, there are a lot of films about people getting killed serially—too many to take into consideration and compare without some basic parameters. So, here’s how we’re defining the idea of serial killer movies. The killers in these films must be human. Vampires, werewolves and giant sharks all kill serially, but they’re not “serial killers” per se. The killers can’t possess any overt supernatural powers or abilities. They can’t be ghosts, or undead revenants. This means, for example, that Michael Myers of Halloween is still able to qualify, as he is definitely a human being, whereas Jason Voorhees of Friday the 13th or Freddy Krueger of A Nightmare on Elm Street do not, given that one is (typically) an undead golem and the other is a supernatural dream monster. Ultimately, these are all stories about genuine human beings, killing other human beings. Got it? There’s some obvious crossover with our list of the best slasher movies of all time, so be sure to check that out as well. 50. PiecesYear: 1982 Director: Juan Piquer Simón Pieces is the sort of silly, head-scratching early ’80s slasher wherein it’s difficult to decide if the director is trying to slyly parody the genre or actually believes in what he’s doing. Regardless, Pieces is a delightfully stupid movie, featuring a killer who murders his mother with an axe as a child after she scolds him for assembling a naughty adult jigsaw puzzle. All grown up, he stalks women on a college campus and saws off “pieces” in order to build a real-life jigsaw woman. The film’s individual murder sequences are completely and utterly bonkers, the best one being a sequence in which the female lead is walking down a dark alley and is suddenly attacked by a tracksuit-wearing “kung fu professor” played by “Brucesploitation” actor Bruce Le. After she incapacitates him, he apologizes, saying he must have had “some bad chop suey,” and waltzes out of the movie. The whole thing takes less than a minute. Pieces also boasts one of the best film taglines of all time: “Pieces: It’s exactly what you think it is!” As schlock goes, it’s an unheralded classic. —Jim Vorel 49. The Clovehitch KillerYear: 2018 Director: Duncan Skiles Life in small-town Christian America can have a stultifying effect on a person, sucking out all personality and vitality, replacing all individual identity with better living through dogma. In The Clovehitch Killer, director Duncan Skiles replicates this bait-and-switch through cinematographer Luke McCoubrey’s camera. The film is shot stock-still, the camera more or less fixed from one scene to the next, as if affected by the vibe of routine humming throughout its setting of Somewhere, Kentucky. Almost none of the characters we meet in the movie have a spark; they’re drones tasked with maintaining the hive’s integrity against interlopers who, god forbid, actually bother to be somebody. Caught up in this dynamic is Tyler (Charlie Plummer), awkward, quiet and shy, the son of Don (Dylan McDermott), a handyman and Scout troop leader, which brings no end of unexpressed consternation to Tyler as a Scout himself. On the surface, Don looks and acts like an automaton, too, with occasional hints of humor and warmth in his capacity as father and Scoutmaster. Beneath, though, he’s something more, at least so Tyler suspects: The Clovehitch Killer, a serial killer who once tormented their area with a horrific murder spree long completed. Or maybe not. Maybe Don just has a real kink fetish and keeps rope around for fun in the bedroom. Either way, fathers aren’t always who or what they appear. Horror movies are all about the squirm, the nerve-wracking build-up of tension over time that, done properly, leaves viewers crawling out of their skin with dread. In The Clovehitch Killer, this sensation is wrought entirely through craft instead of effects. That damn camera, motionless and unstirred, is always happy to film what’s in front of it, never one to pan about to catch new angles. What you see is what it shows you, but what it shows you might be more awful than you can stomach at a glance. This is a devilish movie that does beautifully what horror films are meant to—vex us with fear—through the most deceptively simple of means. —Andy Crump 48. The HitcherYear: 1986 Director: Robert Harmon In horror films, there’s something alluring to a relentless and unstoppable killer whose motivation is only to destroy innocent life with nihilistic, almost supernatural fervor. Part of the reason the original Halloween is still so frightening lies in its chillingly effortless ability to present Michael Myers as a figure of death itself: no reason, no rhyme, he won’t stop until you stop breathing. The original The Hitcher operates on many of the same levels, as the simplicity of its premise about a couple (C. Thomas Howell and Jennifer Jason Leigh, who takes on a dual role, as the top and bottom halves of her body) hounded by a murderous maniac hitchhiker (Rutger Hauer) takes full advantage of the unresolved mystery surrounding the killer’s motivations. (Transform the truck from Duel into Rutger Hauer, and you get The Hitcher.) Director Robert Harmon’s film casts an appropriately icky, low-grade aura, perfectly fitting the killer’s philosophical point-of-view, an aesthetic approach that eludes the makers of the ill-fated 2007 remake, which looks too glossy to work on a visceral level. Also, with all due respect to Sean Bean, he’s no Rutger Hauer. —Oktay Ege Kozak 47. The Boy Behind the DoorYear: 2021 Director: David Charbonier, Justin Powell The thing childhood abduction/serial killer story The Boy Behind the Door relies on the most is not nostalgia, though if you’re an adult, it may feel that way. The power of friendship is what keeps the heart of this film pumping fresh blood until the very end. There is something so sweet and unbreakable about a true childhood kinship, and that treasured bond is ripe between Bobby and Kevin. They are each other’s rock, and their dialogue and character impulses solidify this important piece of the puzzle that aids them throughout. Their mantra, “friends till the end,” sustains them through their trials and tribulations, and it is beyond clear that their symbiotic connection is their greatest asset. It’s easy, as a viewer, to feel deep catharsis with this element and your mind will wander back to those idyllic childhood moments with whomever was your best bud. But it seems the filmmakers also made it a point to take those feelings a step further: Their story makes you so thankful for those times, amid the uncertainty of life and the insidiousness of humanity, that the feeling will unsettle you. And, like The Boy Behind the Door, it should. —Lex Briscuso 46. Summer of SamYear: 1999 Director: Spike Lee Summer of Sam technically isn’t about the Son of Sam killer, who terrorized New York City during the summer of 1977 with his weapon of choice, a 44-caliber handgun— it’s a return for director Spike Lee to exploring how much irreversible damage unfounded paranoia and unchecked prejudice can inflict on neighborhoods, friendships and relationships. In a way, Summer of Sam operates as a mini-Do The Right Thing retread, focusing less overtly on race and more on how society marginalizes people who, for whatever reason, are different. When Richie (Adrian Brody) returns to his conservative Italian neighborhood dressing and acting like a proud member of a British punk band, the immediate reaction from his old friends is that he’s a freak, so he must be responsible for the murders that plague the city. Lee treating Son of Sam’s exploits as a sub-plot—Summer of Sam may feel a bit bloated and overlong, actually, with too many characters and sub-plots—actually works in heightening the visceral shock of the film’s killings: The death scenes lack the usual suspense of a standard serial killer flick, so that when the killer casually approaches his victims and empties his gun, the violence begins suddenly and ends suddenly, allowing us to contemplate the matter-of-factness of it, in direct contrast to more strangely macabre sequences, like when the killer has a conversation with a dog. —Oktay Ege Kozak 45. Creep 2Year: 2017 Director: Patrick Brice Creep was not a movie begging for a sequel. About one of cinema’s more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his “art”—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not “let’s do it again,” but “let’s go deeper”—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a “horror movie,” remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film’s only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel 44. Serial MomYear: 1994 Director: John Waters Ever the prescient scumbag sophisticate, John Waters presaged America’s true crime fixation—in the wake of the Menendez brothers and the Pamela Smart trials, before, even, Gus Van Sant’s groundbreaking To Die For, and in the glow of the OJ Simpson murders—with the tongue-through-cheek Serial Mom. Farce at the fore, Waters fully understands the power of having Kathleen Turner play the titular murderer, a woman whose attractiveness, domesticity and class status allow her the unearned sympathy and forgiveness her despicable crimes require in order to continue, but never shies away from juxtaposing the friendliness of Beverly Sutphin’s (Turner) demeanor with the putrid nature of her psyche, producing a film as upsetting as it is hilarious about the corrupt core of society’s cravings for such shitty stuff. Even as her family attempts to curb her homicidal ways, Beverly succeeds in ending the lives of those whose lives she wants to end, her husband (Sam Waterston) and daughter (Ricki Lake) and son (Matthew Lillard) helpless against the tide of ratings and Nielsen numbers working to thwart them. With little room for debate, Waters lays the blame for such blithe misery at our feet, insisting that with every bit of reality TV wretchedness we consume, we encourage another psychopath to take that extra step toward their own 15 minutes of sinister stardom. —Dom Sinacola 43. Black WidowDirector: Bob Rafelson Year: 1987 Taking the femme fatale conceit to literal extremes, director Bob Rafelson, whose credits include Five Easy Pieces and the 1981 remake of The Postman Always Rings Twice, delivers a modern noir elevated by two ace lead performances. Debra Winger does Debra Winger as an FBI agent, Alex, who grows obsessed with the perpetrator of a series of unsolved marriages-then-murders. Theresa Russell matches her note for note as gold-digging vixen Catharine, who’s as good at the long con as she is a cat-and-mouse game with Winger’s humdrum suit. Then there’s the staggering amount of research involved—Catharine on the passions of her soon-to-be victims, Alex on her suspect. It’s smart, with pointed gender commentary to boot. The plain-Jane Fed plays frenemies with the glamorous chameleon while cinematography great Conrad L. Hall (Cool Hand Luke, American Beauty) mines suspense in the shadows, all the better to spotlight Russell’s steely eyes and porcelain veneer—she’s bone-chilling. Bonus points for a droll cameo from Dennis Hopper as one of Catharine’s marks, and a lecherously long-nailed Diane Ladd as one of his relatives. —Amanda Schurr 42. Death ProofYear: 2007 Director: Quentin Tarantino Kurt Russell plays serial killer Stuntman Mike in Death Proof, Quentin Tarantino’s half of the double-feature Grindhouse, but the cars are the real stars. Just as he does in all of his works, Tarantino fills the lives of his diverse menagerie of characters with his trademark blend of mundane pop-cultural dialogue and insane violence. In one exhilarating sequence, real-life stuntwoman Zoe Bell precariously hangs onto the hood of a speeding car in what is one of the greatest chase scenes in cinematic history. Ultimately, Death Proof will never be considered one of Tarantino’s “major works”—especially after the recent revelations of Uma Thurman’s car accident on the set of Kill Bill—but it’s still a satisfying shot of righteous adrenaline to see Stuntman Mike finally get what’s coming to him. —Tim Basham 41. Deranged: Confessions of a NecrophileYear: 1974 Directors: Alan Ormsby, Jeff Gillen Imagining Deranged as the loose prequel to Home Alone makes Buzz’s tall tales about the creepy next-door-neighbor the stuff of actual nightmares. In Alan Ormsby and Jeff Gillen’s nasty-ass Canadian cult curio, Roberts Blossom plays Ezra Cobb (his only starring role, though it never gained close to the amount of attention he garnered as misunderstood Old Man Marley), a deeply unsettling small-town weirdo who harbors a disturbing obsession with his recently-deceased mother, which of course grows into a murderous spree to gather more corpses to keep his mother’s corpse company. Like most stories about serial killers, Ezra’s mental afflictions draw liberally from pop culture’s morbid fascination with the—cough—deranged individuals who exist in every domesticated corner of the planet, disguising their neuroses to function within society, and so Deranged pulls from the story of Ed Gein as much as it seems to pull from the shocking realism of The Texas Chain Saw Massacre—which came out the same year (the two films probably pulling from the same collective pool of unconscious Jungian fears)—reveling in breaking one taboo after another, unfazed by the gruesomeness portrayed on screen. Deranged does get gross, its final moments revealing that, like so many films of its ilk, this could only happen in a godless universe, a universe in which there is no reason or purpose to evil. Throughout it all, Blossom delivers a stomach-churning performance, his face a graveyard of shadows and terrible memories pushed to Jim-Carrey-like levels of elasticity, as inhuman as it is strictly corporeal. In retrospect, one understands Buzz’s warnings, however manipulative they may’ve been: Blossom’s is the face of a guy who could beat an innocent bystander to death with a snow shovel without flinching. —Dom Sinacola 40. I Am Not a Serial KillerYear: 2016 Director: Billy O’Brien On the surface, this overlooked 2016 gem feels subtly familiar to those who have perhaps seen series such as Dexter: a boy (Max Records) with pronounced sociopathic tendencies fears he is “fated” to become a serial killer, and thus lives by a set of rules designed to keep those around him safe. But the film makes the unusual distinction of having young John Wayne Cleaver’s mental and emotional condition be much better understood by those around him than is typical for films in this genre—they’re at least attempting to be allies, whether he can see it or not. Records is captivating as the lead, projecting a fascination with the icky inner workings of both the human body and human condition, while a 78-year-old Christopher Lloyd steals the show as John’s doddering but dangerous next-door-neighbor. Low-budget but gory and stylish in spades, I Am Not a Serial Killer is a film whose final act diverges from the expected narrative in ways that may be shocking, to say the least, but throughout it maintains a rock-solid grasp on its fundamental themes of emotion, family and predestination. —Jim Vorel 39. ManiacYear: 2012 Director: Franck Khalfoun Maniac is a rather impressive reimagining of the 1980 exploitation horror film of the same name, an attempt to take some grindhouse material and redress it in a modern skin, equal parts shocking and thought-provoking. Elijah Wood gives a transformative performance as the killer, Frank Zito, even though you almost never see Wood’s face, given that the entire movie is filmed from the killer’s perspective—yes, the entire film. Rather, the audience hears the running background noise of his madness as he mutters to himself and stalks his female victims. Be warned: The violence of Maniac is difficult to watch for even seasoned horror vets, and the constant POV shot of the killer’s perspective immediately makes the audience feel both guilt at their complicity and sick at their solidarity with the killer. Some will call it overly gratuitous in terms of its brutality, but the film is so assured in its artistic aims that it’s difficult to hold to the criticism. Set to a score of alternating, Carpenter-esque synth and classical/opera music, Maniac is an arthouse gore film if there ever was one. —Jim Vorel 38. CruisingYear: 1980 Director: William Friedkin A source of uproar and protest upon its original release, William Friedkin’s Cruising saw the director dip his toes again into gay subculture, and though he moved from the middle class, booze-soaked apartments of The Boys in the Band (1970) to underground, sweat-stained leather bars, little changed in terms of how he conceptualized how gay men conceptualized their own fears and desires. Outsider perspective or not, the link between his adaptation of Mart Crowley’s Albee-esque play and Gerald Walker’s pulpy noir of a thriller is self-loathing, both about adult men whose entire identities are contingent on how well they can numb themselves. Friedkin’s Cruising frames that anxiety within the story of a cop, Steve Burns (Al Pacino), who goes undercover in New York’s leather culture to find a serial killer murdering men on the scene, Friedken’s connection between sex and death amplified because of its queerness. If the director has a gawky, wandering eye, it seems logical that Pacino’s Burns, too, is entranced, repulsed, attracted to and captivated by a manifestation of maleness that deliberately mixes the foreign and familiar. Like an amalgamation of the danger of toxic masculinity and a prophetic meditation on the AIDS crisis (the first report of AIDS was not published in the New York Times until July 3, 1981), Cruising is stunning as one man’s reluctant trip down a gay rabbit (glory) hole. —Kyle Turner 37. XYear: 2022 Director: Ti West X is a remarkable and unexpected return to form for director Ti West, a decade removed from an earlier life as an “up and coming,” would-be horror auteur who has primarily worked as a mercenary TV director for the last 10 years. To return in such a splashy, way, via an A24 reenvisioning of the classic slasher film, intended as the first film of a new trilogy or even more, is about the most impressive resurrection we’ve seen in the horror genre in recent memory. X is a scintillating combination of the comfortably familiar and the grossly exotic, instantly recognizable in structure but deeper in theme, richness and satisfaction than almost all of its peers. How many attempts at throwback slasher stylings have we seen in the last five years? The answer would be “countless,” but few scratch the surface of the tension, suspense or even pathos that X crams into any one of a dozen or more scenes. It’s a film that unexpectedly makes us yearn alongside its characters, exposes us (graphically) to their vulnerabilities, and even establishes deeply sympathetic “villains,” for reasons that steadily become clear as we realize this is just the first chapter of a broader story of horror films offering a wry commentary on how society is shaped by cinema. Featuring engrossing cinematography, excellent sound design and characters deeper than the broad archetypes they initially register as to an inured horror audience, X offers a modern meditation on the bloody savagery of Mario Bava or Lucio Fulci, making old hits feel fresh, timely and gross once again. In 2022, this film is quite a gift to the concept of slasher cinema. —Jim Vorel 36. The CellYear: 2000 Director: Tarsem Singh The career of director Tarsem Singh has never quite managed to live up to the promise first seen in 2000’s The Cell. This futurist, fantasist spin on The Silence of the Lambs sees a psychologist (Jennifer Lopez, back when she was an actor first and foremost) descending into the twisted mind of a serial killer (an unrecognizable Vincent D’Onofrio) via an experimental piece of technology that allows one person’s consciousness to be inserted into the subconscious of another. Presaging the likes of Inception, The Cell is startlingly imaginative at times, a visual feast that recalls Clive Barker’s fixations upon grandiosity and sadomasochism, as Lopez comes up against the killer’s mental projection, who dresses and behaves as an omnipotent god-king in a twisted dream world like something out of H.P. Lovecraft. Unpolished and self-congratulatory at times, one still has to admire its sheer chutzpah. If any of these films were going to be remade as an episode of Black Mirror in 2018, it would probably be this one. —Jim Vorel 35. TenebraeYear: 1982 Director: Dario Argento If you wrote an ultra-violet horror book, and if your ultra-violent horror book inspired a workaday psycho to go on their own ultra-violent killing spree, would you be put off or would you take it as a compliment? Maybe that’s not the question Dario Argento asks in his notorious 1982 giallo film Tenebrae, but the plot does call to mind a certain old proverb about imitation and flattery: American author Peter Neal (Anthony Franciosa) heads to Italy to promote his new book, and finds that there’s a serial killer on the loose, emboldened by Neal’s bibliography and murdering Romans in his name. That’s gotta feel pretty good for Neal, though not so much for the killer’s victims. The guy isn’t exactly into efficiency; he prefers to make his prey suffer, which shouldn’t come as a surprise given Tenebrae’s source. (Argento isn’t into efficiency, either. He’ll kill people with random stockpiles of razor wire if he feels like it.) Tenebrae, more so than other Argento movies, is tough to watch; it’s an especially bloody affair, but its artistic merit demands we consider it essential cinema. The film stages arterial geysers to soak its sets in crimson equally as often as it admits Argento’s own twisted indulgences as a filmmaker. He opens the film with a narration about finding freedom in taking life, for Christ’s sake. You figure it out. It’s not that Argento condones murder or anything as nutty as that; it’s more that he’s willing to confess his hopeless fixation with depicting murder on screen. When you’re possessed of as great a gift for that kind of thing as Argento, what reasonable person can blame you? —Andy Crump 34. FrenzyYear: 1972 Director: Alfred Hitchcock Hitchcock’s penultimate (and arguably last great) film is also his grisliest. As movie censors became slightly more relaxed in the 1970s, Hitchcock was allowed to show more violence and even some nudity. It’s still tame by today’s standards, but the tale of a London serial killer who rapes and strangles his female victims with a necktie is the master of suspense at his most graphic, while retaining the typically twisty, turny plotting you’d expect. —Bonnie Stiernberg 33. Black ChristmasYear: 1974 Director: Bob Clark Fun fact—nine years before he directed holiday classic A Christmas Story, Bob Clark created the first true, unassailable “slasher movie” in Black Christmas. Yes, the same person who gave TBS its annual Christmas Eve marathon fodder was also responsible for the first major cinematic application of the phrase “The calls are coming from inside the house!” Black Christmas, which was insipidly remade in 2006, predates John Carpenter’s Halloween by four years and features many of the same elements, especially visually. Like Halloween, it lingers heavily on POV shots from the killer’s eyes as he prowls through a dimly lit sorority house and spies on his future victims. As the mentally deranged killer calls the house and engages in obscene phone calls with the female residents, one can’t help but also be reminded of the scene in Carpenter’s film where Laurie (Jamie Lee Curtis) calls her friend Lynda, only to hear her strangled with the telephone cord. Black Christmas is also instrumental, and practically archetypal, in solidifying the slasher trope of the so-called “final girl.” Jessica Bradford (Olivia Hussey) is actually among the better-realized of these final girls in the history of the genre, a remarkably strong and resourceful young woman who can take care of herself in both her relationships and deadly scenarios. It’s questionable how many subsequent slashers have been able to create protagonists who are such a believable combination of capable and realistic. —Jim Vorel 32. Perfume: The Story of a MurdererYear: 2006 Director: Tom Tykwer An orphan with a superhuman sense of smell makes the startling discovery that he has no scent of his own, and his quest for the ultimate perfume takes a very dark turn. Adapted from Patrick Susskind’s novel Perfume and set in 18th century France, Perfume: The Story of a Murderer stars Ben Whishaw as Jean-Baptiste Grenouille, an unfortunate urchin who’s sold to a tanner but finds his way into becoming a perfumer’s apprentice. The perfumer (Dustin Hoffman) ultimately sends him to the perfume masters of Grasse, France, to learn enfleurage, the art of extracting essences by coating them with fat. Jean-Baptiste isn’t interested in jasmine and lavender, though. He wants to distill and reproduce the essence of people, particularly beautiful virgins. So naturally he goes on a rampage of murders to capture some personal scents. Ultimately he’s caught and slated for a very grisly execution, but he’s stashed away the perfume he’s concocted from the women he’s killed, and covers himself with it, causing everyone to declare he is innocent, and possibly an angel, provoking a frenzy in which the townspeople devour him. Directed by Tom Tykwer, the film received mixed responses from critics, with the general consensus that its excellent cinematography was undermined by a less-than-stellar script. (Even Alan Rickman, as the wealthy Antoine Richis, father of the final victim, couldn’t sound 100% convincing at times.) Fans of the novel might find the film’s deviations annoying, and it is profoundly challenging to successfully evoke the sense of smell on film. However, any connoisseur of serial killer movies should have this one under their belt if purely for the unusual, and slightly magical, high concept. Beneath the uneven writing there’s some pretty deep philosophical questioning of the nature of human “essence,” or soul, and what it would be like to be without one. —Amy Glynn 31. ManhunterYear: 1986 Director: Michael Mann Received at the time to mixed reviews, its hyper-aestheticized allure surprisingly a bit too much for audience tastes in the mid-’80s, Manhunter more than 30 years later represents (maybe ironically) what the mid-’80s felt like to those who can’t quite remember it concretely. In other words, it’s a movie unstuck in time, a product of a decade that’s long past but so surreal and steeped in symbolism and superbly manicured that it seems to hide generations of terror inside it. The first of many adaptations of Thomas Harris’s novels, Manhunter crafted the model and set the dead-serious stakes for every iteration to follow, mooring dream-like imagery to a careful police procedural, attempting to depict the harrowing emotional experience of being an FBI profiler while never skimping on the melodrama. All the while, Mann draws big abstruse lines around the serial killer at the core of the film—a laconic lurch of a man, Francis Dollarhyde (Tom Noonan), the so-called “Tooth Fairy”—who inhabits every scene with the foreboding promise that he is a person whose reality is a fragile delusion. Brian Cox haunts the fringes of the film, the first actor to inhabit Hannibal Lecktor (for some reason, first spelled that way), the manifestation of Agent Will Graham’s (William Peterson) Id, a foil to the “good guy” and a psychopath whose lack of empathy makes all the starker Mann’s intuitive sense of framing. Abetted by DP Dante Spinotti’s willingness to treat color like he’s lighting a giallo as much as a Miami Vice-minded crime thriller, in Manhunter Mann found an early career balance between the gritty minutiae of investigative police work and the abstract, cerebral violence of the investigations themselves. Dollarhyde wants only to be wanted, so he kills to be truly “seen” by his victims, which then, in his mind, transforms him into something powerful. Manhunter acts in much the same way, growing stronger the harder you stare into it. —Dom Sinacola 30. Deep RedYear: 1975 Director: Dario Argento Dario Argento’s movies would be easy to pick out of a police lineup, because when you add all of his little quirks together they form an instantly iconic style. Deep Red is one of those films that simply couldn’t have been made by anyone else—Mario Bava could have tried, but his wouldn’t have the quintessential soundtrack by Argento collaborators Goblin, nor the drifting, eccentric camerawork that constantly makes us question whether we’re looking through the killer’s POV or not. And the story is a classic giallo whodunit: Following the brutal cleaving of a German psychic (Macha Méril), a music teacher (David Hemmings) who lives in her building starts putting the pieces together to solve the murder mystery, uncovering a tragic family history. Along the way, anyone who gets close to the answer gets a meat cleaver to the head from a mysterious assailant in black leather gloves—except for those who die in much worse, more gruesome ways. Argento has a real eye for what is physically disconcerting to watch—he somehow takes scenes that are “standard” for the horror genre and makes them much more uncomfortable than one would think by simply reading a description of the sequence. In Argento’s hands, a slashing knife becomes a paintbrush. —Jim Vorel 29. CreepYear: 2014 Director: Patrick Brice Creep is a somewhat predictable but cheerfully demented indie horror film, the directorial debut by Patrick Brice, who also released 2015’s The Overnight. Starring the ever-prolific Mark Duplass, it’s a character study of two men: naive videographer (played by Brice) and not-so-secretly psychotic recluse (Duplass), the latter hiring the former to come document his life out in a cabin in the woods. The found footage two-hander leans entirely on its performances, which are excellent, early back-and-forths between the pair crackling with a sort of awkward intensity. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist’s life and haunts his every waking moment. Anyone genre-savvy will no doubt see where it’s going, but it’s still a well-crafted ride that succeeds on the strength of the chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina. —Jim Vorel 28. Blood and Black LaceYear: 1964 Director: Mario Bava You can credit films such as Psycho or Peeping Tom for laying the groundwork for the slasher genre, and 1974’s Black Christmas for first bringing all the elements together into what is undeniably a “slasher movie,” but Mario Bava’s foundational 1964 giallo is so close as to almost merit that title as the first “true” slasher in almost every way that matters. Blood and Black Lace is an absolutely gorgeous, sumptuous movie that is all the better to see on the big screen, if you can, featuring dramatic splashes of primary colors used to maximum impact. The story is a blend of darkly comic murder mystery and titillation-tinged exploitation, featuring a gaggle of female models stalked by a mysterious assailant whose face is covered in an impenetrable stocking mask with blank features—a killer who looks for all intents and purposes like the DC Comics character The Question. It’s an immediately iconic image that seared its imprint into an entire Italian genre, and subsequent killers would reflect so many of this film’s killer’s features, from the black gloves and long coat to the mask itself. Although many tried to ape its visuals, very few could match the decadence and the sense of luxurious (and deadly) excess that Bava captures in Blood and Black Lace. —Jim Vorel 27. The Element of CrimeYear: 1984 Director: Lars Von Trier While Lars von Trier trained at Copenhagen’s premier film school, his twisted little mind made its auspicious debut with The Element of Crime in 1984. Even before Dogme 95, in which he made a bunch of rules only to ruefully break them, von Trier’s preoccupations were on the subversive from the get go. This neo-noir exploration on guilt and obsession set the groundwork for films like Europa, with its tricky somnambulatory tone, and even films as far forward as Nymphomaniac, in which he returned to testing the limits of desire and destruction between men and women. In The Element of Crime, his post-apocalyptic vision of Europe (part of his “Disintegration of Europe” trilogy), a former cop/current ex-pat detective, Fisher (Michael Elphick), recalls his last case, concerning a serial killer who strangled, raped and mutilated young girls. As influenced by Blade Runner as he is by Kafka, von Trier spins a classic tale of spiritual annihilation by way of imitation: Fisher uses a book called The Element of Crime to identify with the killer and, therefore, begins to see himself meld with the elusive culprit. Von Trier was button-pushing right out of the gate, his palette urine-painted and garish, and his obsessions provocative. With his first feature, the Danish director knowingly established himself as an incomparable enfant terrible. —Kyle Turner 26. The Bad SeedYear: 1956 Director: Mervyn LeRoy The Bad Seed is one of the most disturbing American portraits of pure psychopathy or sociopathy, coming from the least suspected of all sources: an 8-year-old girl. The piercing eyes of little blonde, pigtailed Rhoda (Patty McCormack) are terrifying to behold, moreso once we begin to suspect what lays behind her facade. Rhoda’s ability to function and hide her true self with wily cunning foretells the likes of Patrick Bateman or Henry in Henry: Portrait of a Serial Killer, but the seeming ease with which she does so is especially disturbing. There could be no We Need to Talk About Kevin without The Bad Seed there to ask the question: What is the nature of innate evil? The menace and sheer, unflinching look into human cruelty in The Bad Seed is truly unique for its time period, with young McCormack’s performance ranking among the all-time greats for children in a horror film. The Bad Seed is about the horrors of responsibility as a parent, when there’s something you know needs to be done but the act of carrying it out is something the world will never be able to understand. It’s a film that may turn you off pigtails for life. —Jim Vorel 25. Man Bites DogYear: 1992 Directors: Rémy Belvaux, André Bonzel, Benoît Poelvoorde An undeniable forebear to Behind the Mask: The Rise of Leslie Vernon, Man Bites Dog won the International Critics’ Prize at the 1992 Cannes Film Festival, only to receive an NC-17 rating upon its US release, banned in Sweden altogether. One can understand the squeamishness: Man Bites Dog unflinchingly portrays serial murder in its graphic banality, victims ranging from children to the elderly to a gang-raped woman whose corpse is later photographed with her entrails spilling all over the table on which she was violated, the perpetrators lying in drunken post-revelry, heaped on the floor. Filmed as a mockumentary, Man Bites Dog goes to distressing lengths to portray the exigencies of murder as basely as possible, incorporating the reluctance of the crew filming such horrors to offer the audience a reflection of the ways they were probably reacting. The fascinated sorrow expressed by the documentary film’s director (Rémy Belvaux) as he realizes what making a documentary film about a serial killer actually means, becoming more and more complicit with the killings as the film goes on, explicitly points to our willingness as bystanders to stomach the horrors displayed. Still, we react viscerally while the film explores conceptual themes of true crime as pop culture commodity and reality TV as detrimental mitigation of truth, ultimately indicting viewers apt to enjoy this movie while simultaneously catering to them. Benoit (Benoît Poelvoorde), the subject of the faux film, is of course an incredibly intelligent societal outcast beset by xenophobia and misogyny, offering up countless neuroses to explore behind his psychopathy and serial murder, which he treats as a legitimate job. But Man Bites Dog is more about the ways in which we consume a movie like Man Bites Dog, concerned less about the flagrant killing it indulges for laughs than it is the laughs themselves, implying that the real blame for such well-known horror falls at our feet, in which each day we take big, basic steps to normalize the violence and hate that constantly surrounds us. —Dom Sinacola 24. American PsychoYear: 2000 Director: Mary Harron There’s something wrong with Patrick Bateman (Christian Bale)—really wrong. Although he writhes within a Christopher Nolan-esque what-is-a-dream conundrum, Bateman is just all-around evil, blatantly expressing just how insane he is, unfortunately to uncaring or uncomprehending ears, because the world he lives in is just as wrong, if not moreso. Plus the drug-addled banker has a tendency to get creative with his kill weapons. (Nail gun, anyone?) Like anybody needed another reason to hate rich, white-collar Manhattanites: Mar Harron’s adaptation of Bret Easton Ellis’ is a scintillating portrait of corporate soullessness and disdainful affluence. —Darren Orf 23. FrailtyYear: 2001 Director: Bill Paxton Frailty is scary in much the same way that Jeff Nichols’ Take Shelter is so unsettling: They’re both about fathers who become possessed by the idea that they have a mission in life, a secret commandment from on high that may or may not be due to the slow onset of mental illness. The late Bill Paxton wrote and starred in this passion project, giving himself one of the best roles of his career as that disintegrating father who has come to believe that he’s living in a world surrounded by “demons” God has ordered him to eradicate. From the point of view of his young protagonist sons, they’re trapped in a situation that is both hopeless and terrifying, between their father, an alien, unknowable personality ordering them to assist him in committing atrocities, and the fact that revealing his apparent madness to the world will likely mean losing him forever. Matthew McConaughey is supplied with an unexpectedly juicy, unheralded role as one of the grown-up brothers who has come to terms with his nasty childhood, but Paxton really steals the show with the kind of nervous energy that makes it impossible to tell what he’ll do next. Also: Prepare yourself for one zany ending. —Jim Vorel 22. Eyes Without a FaceYear: 1960 Director: Georges Franju I remember seeing my first Édith Scob performance back in 2012, when Leos Carax’s Holy Motors made its way to U.S. shores and melted my pea brain. I also remember Scob donning a seafoam mask, every bit as blank and lacking in expression as Michael Myers’, in the film’s ending, and thinking to myself, “Gee, that’d play like gangbusters in a horror movie.” What an idiot I was: At the time of my Holy Motors viewing, Scob had already appeared in that horror movie, Georges Franju’s Eyes Without a Face, an icy, poetic and yet lovingly made film about a woman and her mad scientist/serial killer dad who just wants to kidnap young ladies that share her facial features in hopes of grafting their skin onto her own disfigured mug. (That’s father of the year material right there.) Of course, nothing goes smoothly in the film’s narrative, and the whole thing ends in tears plus a frenzy of canine bloodlust. Eyes Without a Face is played in just the right register of unnerving, perverse and intimate as the most enduring pulpy horror tales tend to be. If Franju gets to claim most of the credit for that, at least save a portion for Scob, whose eyes are the single best special effect in the film’s repertoire. Hers is a performance that stems right from the soul. —Andy Crump 21. Henry: Portrait of a Serial KillerYear: 1986 Director: John McNaughton Henry stars Merle himself, Michael Rooker, in a film which is essentially meant to approximate the life of serial killer Henry Lee Lucas, along with his demented sidekick Otis Toole (Tom Towles). The film was shot and set in Chicago on a budget of only $100,000, and is a depraved journey into the depths of the darkness capable of infecting the human soul. That probably sounds like hyperbole, but Henry really is an ugly film—you feel dirty just watching it, from the filth-crusted urban streets to the supremely unlikeable characters who prey on local prostitutes. It’s not an easy watch, but if gritty true crime is your thing, it’s a must-see. Some of the sequences, such as the “home video” shot by Henry and Otis as they torture an entire family, gave the film a notorious reputation, even among horror fans, as an unrelenting look into the nature of disturbingly mundane evil. —Jim Vorel 20. ScreamYear: 1996 Director: Wes Craven Before Scary Movie or A Haunted House were even ill-conceived ideas, Wes Craven was crafting some of the best horror satire around. Although part of Scream’s charm was its sly, fair jabs at the genre, that didn’t keep the director from dreaming up some of the most brutal knife-on-human scenes in the ’90s. With the birth of the “Ghost Face” killer, Craven took audiences on a journey through horror-flick fandom, making all-too-common tricks of the trade a staple for survival: sex equals death, don’t drink or do drugs, never say “I’ll be right back.” With a crossover cast of Neve Campbell, Courteney Cox, David Arquette, Matthew Lillard, Rose McGowan and Drew Barrymore (OK, she’s only in the opening, but still), Scream arrived with an incisive take on a tired batch of movies. It wasn’t the first of its kind, but it was the first to be embraced by a huge audience, which went a long way in raising the genre IQ of the burgeoning horror fan. —Tyler Kane 19. I Saw the DevilYear: 2010 Director: Kim Jee-woon I Saw the Devil is a South Korean masterpiece of brutality by director Kim Ji-woon, who was also behind South Korea’s biggest horror film, A Tale of Two Sisters. It’s a truly shocking film, following a man out for revenge at any cost after the murder of his wife by a psychopath. We follow as the “protagonist” of the film makes sport of hunting said psychopath, embedding a tracker in the killer that allows him to repeatedly appear, beat him unconscious and then release him again for further torture. It’s a film about the nature of revenge and obsession, and whether there’s truly any value in repaying a terrible wrong. If you’re still on the fence, know that Choi Min-sik, the star of Park Chan-Wook’s original Oldboy, stars as the serial killer being hunted and turns in another stellar performance. This is not a traditional “horror film,” but it’s among the most horrific on the list in both imagery and emotional impact. —Jim Vorel 18. Memories of MurderYear: 2003 Director: Bong Joon-Ho Based on the case of South Korea’s first serial killer, this is Bong Joon-Ho’s take on the cop drama. The tension arises from the clash in styles between a detective from the countryside (Song Kang-Ho), and his urban counterpart (Kim Sang-Kyung) dispatched to speed the investigation, which steadily derails amid blown opportunities and wrongful arrests. One uses his fists, the other forensics, and both serve as cultural archetypes whose actions play out against the backdrop of the mid-1980s military dictatorship. Strange as it sounds, Murder is also not without laughs, which are both coarse and piercing. —Steve Dollar 17. The VanishingYear: 1988 Director: George Sluizer Ever wondered what makes a mastermind like Stanley Kubrick shake in his boots? The answer is The Vanishing, which was apparently the most “terrifying” film he’d ever seen (and this, coming from the guy who made The Shining). In fact, what makes this thriller so unnerving is that it’s told all topsy-turvy: Instead of spending two hours trying to figure out the identity of the bad guy, we’re introduced to him right away. Based on Tim Krabbé’s book The Golden Egg (Het Gouden Ei), the film tells the story of Raymond (Bernard-Pierre Donnadieu), a self-diagnosed sociopath trying to put himself through the ultimate test. Having saved a young girl from drowning, and celebrated as a hero by his daughters, he wants to find out whether his act of kindness can be followed up by a similarly impressive act of evil. As the film allows Raymond to, over time, investigate the line between sociopathy and psychopathy, he spends hours meticulously planning how to best go about abducting a woman, rather than rescuing one. He experiments with chloroform, purchases an isolated house and practices different ways of getting unknowing women to get into his car. Sluizer later remade his own film for American audiences, with Jeff Bridges and Kiefer Sutherland, but its ending was drastically changed. —Roxanne Sancto 16. OperaYear: 1987 Director: Dario Argento Giallo is not the kind of genre in which directors end up receiving a lot of critical aplomb…with the occasional exception of Dario Argento. He is to the bloody, Italian precursor to slasher films as, say, someone like Clive Barker is to English-language horrors: an auteur willing to take chances, whose gaudy works are occasionally brilliant but just as often fall flat. Opera, though, is one of Argento’s most purely watchable films, about a young actress who seems to have developed a rather homicidal admirer, because anyone who gets in the way of her career has a funny way of ending up dead. Meanwhile, her constant nightmares hint at a long-buried connection to the killer. Essentially the giallo equivalent of Phantom of the Opera, Opera’s canvas is splashed by Argento’s signature color palette of bright, lurid tones and over-the-top deaths, laced with interesting subtext about the nature of watching horror films, as the heroine is often forced by the killer to witness the crimes unfold. Like even Argento’s worst, Opera is a master class study in craftsmanship. —Jim Vorel 15. HalloweenYear: 1978 Director: John Carpenter For students of John Carpenter’s filmography, it is interesting to note that Halloween is actually a significantly less ambitious film than his previous Assault on Precinct 13 on almost every measurable level. It doesn’t have the sizable cast of extras, or the extensive FX and stunt work. It’s not filled with action sequences. But what it does give us is the first full distillation of the American slasher film, and a heaping helping of atmosphere. Carpenter built off earlier proto-slashers such as Bob Clark’s Black Christmas in penning the legend of Michael Myers, an unstoppable phantom who returns to his hometown on Halloween night to stalk high school girls (the original title was actually The Babysitter Murders, if you haven’t heard that particular bit of trivia before). Carpenter heavily employs tools that would become synonymous with slashers, such as the killer’s POV perspective, making Myers into something of a voyeur (he’s just called “The Shape” in the credits) who lurks silently in the darkness with inhuman patience before finally making his move. It’s a lean, mean movie with some absurd characterization in its first half (particularly from the ditzy P.J. Soles, who can’t stop saying “totally”) that then morphs into a claustrophobic crescendo of tension as Jamie Lee Curtis’ Laurie Strode first comes into contact with Myers. Utterly indispensable to the whole thing is the great Donald Pleasance as Dr. Loomis, the killer’s personal hype man/Ahab, whose sole purpose in the screenplay is to communicate to the audience with frothing hyperbole just what a monster this Michael Myers really is. It can’t be overstated how important Pleasance is to making this film into the cultural touchstone that would inspire the early ’80s slasher boom to follow. —Jim Vorel 14. Arsenic and Old LaceYear: 1944 Director: Frank Capra Frank Capra’s adaptation of this darkly comedic Broadway play (some of the Broadway cast reprised their roles in the film) stars Cary Grant as Mortimer Brewster, one of a family of Mayflower bluestocking WASP types who have, over the generations, become—I think the phrase is “criminally insane”? Brewster, an author of many tomes on the stupidity of marriage, gets married. On the eve of the honeymoon he drops by his family home to check in with his loony and sweetly homicidal aunties (Josephine Hull and Jean Adair), a charmingly delusional brother (John Alexander) who believes he is Theodore Roosevelt, and another brother, Jonathan (Raymond Massey), who has bodies to bury and a flat-out crazy alcoholic plastic surgeon in tow. Peter Lorre plays the surgeon, who has altered Jonathan’s face to make him look like Boris Karloff (naturally). And that’s just the setup. More than seven decades after its release, this film is still snort-soda-out-your-nose funny, even though it’s tame and a bit hammy by contemporary standards. The endurance of this film is a testament to both the wonderful script and the magic of Frank Capra with a stable of talented comedic actors at his disposal (and not in the “bodies in the basement” sense). —Amy Glynn 13. Behind the Mask: The Rise of Leslie VernonYear: 2006 Director: Scott Glosserman In the years following Scream, there was no shortage of films attempting similar deconstructions of the horror genre, but few deserve to be mentioned in the same breath as the criminally underseen Behind the Mask. Taking place in a world where supernatural killers such as Jason Voorhees and Freddy Krueger actually existed, this mockumentary follows around a guy named Leslie Vernon (Nathan Baesel), who dreams of being the “next great psycho killer.” In doing so, it provides answers and insight into dozens of horror movie tropes and clichés, like: How does the killer train? How does he pick his victims? How can he seemingly be in two places at once? It’s a brilliant, twisted love letter to the genre that also develops an unexpected stylistic change right when you think you know where things are headed. And, despite a lack of star power, Behind the Mask boasts tons of cameos from horror luminaries: Robert Englund, Kane Hodder, Zelda Rubinstein and even The Walking Dead’s Scott Wilson. Every, and I mean every, horror fan needs to see Behind the Mask. It’s criminal that Glosserman has never managed to put together a proper sequel follow-up, but a fan-funded comic series raised twice its goal on IndieGoGo, so maybe it’s still possible. —Jim Vorel 12. The Honeymoon KillersYear: 1969 Director: Leonard Kastle In a film that acted as something of a spiritual antecedent to the sensibilities of John Waters, Terrence Malick’s Badlands and the exploitation films of the ’70s, Leonard Kastle delivers greatness with The Honeymoon Killers. Shot with absolute care—in a verite style, unafraif to show gruesome details—and a wonderful attention to detail amidst long, lingering frames, this marks the only foray into directing for Kastle, an artist who knows the most power can be held in what he doesn’t show. Kastle’s sense of lighting is one of the film’s strengths, not to mention the rather great performances by Shirley Stoler and Tony Lo Bianco, playing the real couple of Martha Beck and Ray Fernandez, whose story unravels more and more through every passing act of grotesqueness and horror, their bickering throughout one of this low-budget shock classic’s highlights. —Nelson Maddaloni 11. MonsterYear: 2004 Director: Patty Jenkins Charlize Theron’s transformation into notorious serial killer Aileen Wuornos in Patty Jenkins’ heartbreaking drama goes beyond her becoming downright unrecognizable in the role. (Roger Ebert famously did not know it was her in the role when he first saw Monster). Anything we had previously known about Theron’s persona and demeanor as a movie star she completely strips away to embody this extremely troubling, yet inherently tragic figure. Theron is completely submerged in her character. Every glance, every hand gesture and every physical tick seem to be those of Wuornos. There’s not a single moment in the film in which the actress peeks out from behind those eyes. Charlize Theron captured something essential and magical (if very disturbing) —Oktay Ege Kozak and Tim Regan-Porter 10. The Cabinet of Dr. CaligariYear: 1920 Director: Robert Wiene The quintessential work of German Expressionism, The Cabinet of Dr. Caligari was described by Roger Ebert as the “first true horror film,” although a modern viewing is understandably unlikely to elicit chills. Still, in the same vein as Nosferatu, Robert Wiene and Willy Hameister’s fantastical visual palette is instantly iconic: Buildings cant in impossible angles and light plays strange tricks—are those shadows real, or painted directly onto the set? The story revolves around a mad hypnotist (Werner Krauss) who uses a troubled sleepwalker (Conrad Veidt) as his personal assassin, forcing him to exterminate enemies at night. The film’s astonishingly creative and free-thinking designs have had an indelible influence on every fantasy landscape depicted in the near-100 years since. You simply can’t claim an appreciation for the roots of cinema without seeing the film. —Jim Vorel 9. Se7enDirector: David Fincher Year: 1995 It’s hard to think of a movie that did more short-term damage to the length of your fingernails in the ’90s than David Fincher’s Se7en. Sticking close to detectives David Mills (Brad Pitt) and almost-retired William Somerset (Morgan Freeman) on the trail of John Doe, a murderer who plans his kills around the seven deadly sins, the film allows us to watch Somerset teach a still-naive Mills valuable life lessons around the case, which has morally charged outcomes aimed at victims that include a gluttonous man and a greedy attorney. For all the disturbing crime scenes considered, Se7en’s never as unpredictable or emotionally draining as in its infamous finale, in which Mills and Somerset discover “what’s in the box” after capturing their man. —Tyler Kane 8. The Texas Chain Saw MassacreYear: 1974 Director: Tobe Hooper One of the most brutal mainstream horror films ever released, The Texas Chain Saw Massacre, based on notorious Wisconsin serial killer Ed Gein, resembles art-house verité built on the grainy physicality of its flat Texas setting. Plus, it introduced the superlatively sinister Leatherface, the iconic chainsaw-wielding giant of a man who wears a mask made of human skin, whose freakish sadism is upstaged only by the introduction of his cannibalistic family with whom he resides in a dilapidated house in the middle of the Texas wilderness, together chowing on the meat Leatherface and his brothers harvest, while Grandpa drinks blood and fashions furniture from victims’ bones. Still, The Texas Chain Saw Massacre might not be the goriest horror film ever made, but as an imaginal excavation of the subterranean anxieties of a post-Vietnam rural American populace, it’s pretty much unparalleled. Twisted, dark and beautiful all at once, it careens through a wide variety of tones and techniques without ever losing its singular intensity. (And there are few scenes in this era of horror with more disturbing sound design than the bit where Leatherface ambushes a guy with a single dull hammer strike to the head before slamming the metal door shut behind him.) —Rachel Hass and Brent Ables 7. MYear: 1931 Director: Fritz Lang It’s rather amazing to consider that M was the first sound film from German director Fritz Lang, who had already brought audiences one of the seminal silent epics in the form of Metropolis. Lang, a quick learner, immediately took advantage of the new technology by making sound core to M, and to the character of child serial killer Hans Beckert (Peter Lorre), whose distinctive whistling of “In the Hall of the Mountain King” is both an effectively ghoulish motif and a major plot point. It was the film that brought Peter Lorre to Hollywood’s attention, where he would eventually become a classic character actor: the big-eyed, soft-voiced heavy with an air of anxiety and menace. Lang cited M years later as his favorite film thanks to its open-minded social commentary, particularly in the classic scene in which Beckert is captured and brought before a kangaroo court of criminals. Rather than throwing in behind the accusers, Lang actually makes us feel for the child killer, who astutely reasons that his own inability to control his actions should garner more sympathy than those who have actively chosen a life of crime. “Who knows what it is like to be me?” he asks the viewer, and we are forced to concede our unfitness to truly judge. —Jim Vorel 6. Peeping TomYear: 1960 Director: Michael Powell In one respect, Michael Powell’s Peeping Tom is a meticulous, human, thoughtful movie about the mechanics and emotional impulses that drive the filmmaking process. In another, it’s a slasher flick about a loony tune serial killer-cum-documentarian who murders people with his camera’s tripod. (The tripod has a knife on it.) Basically, Peeping Tom is precisely as silly or as serious as you care to read it, though as absurd as the premise sounds on the page, the film is anything but on the screen. In fact, it was considered quite controversial for a time—and depending on whom you ask it may still be. Understanding why doesn’t take a whole lot of heavy lifting; movies about women in peril have a way of striking their audience’s nerves, and Peeping Tom takes that idea to an extreme, giving its slate of victims-to-be little room to breathe as Mark Lewis (Carl Boehm) closes in on them, capturing their exponentially increasing fear from second to second as they face dawning comprehension of their impending deaths. It’s a tough film to sit through, as any film about a psychopath with a habit of brutally slaying women would be, but it’s also thorough, insightful, impeccably made and brilliantly considered. —Andy Crump 5. BadlandsYear: 1973 Director: Terrence Malick Why did two seemingly normal people go on a cross-country killing spree, and what is it that makes theirs so strikingly different from all the other movies about serial killers on the run? Those two broad questions steer first-time director Terrence Malick in Badlands. It begins with Spacek’s narration as Holly; the entirety of her backstory comes from this first monologue, through which we’re told her mother died of pneumonia and how, after her death, “[Her father] could never be consoled by the little stranger he found in his house.” Then the film gives us a montage of images from this small town in Texas before introducing us to Kit (Martin Sheen), who’s shown working as a garbageman. Kit sees Holly twirling a baton in front of her house and their fates are sealed. The basic plot of Badlands was drawn from Charles Starkweather’s murder spree with his girlfriend in 1958, but Malick only uses that story as a loose frame for his big questions about the nature of evil and our compulsion to watch movies like this. “Our sense of the past is always already influenced by our present understanding of the world (we see the past through the present); and yet our present understanding of the world is itself always already influenced and determined by the past (we see the present through the past).” Theorist Leland Poague’s understanding of the “reception theory” provides an ideal framework for Terrence Malick’s 1973 debut feature. It’s impossible to view Badlands outside the lenses of his later work, but it’s also impossible to view his later work outside the lenses of Badlands. —Sean Gandert and David Roark 4. The Night of the HunterDirector: Charles Laughton Year: 1955 Film noir or horror—in which category does Charles Laughton’s Night of the Hunter belong? Frankly, all such quibbles are needless. The film fits snugly beneath either appellation, for one thing: It’s a hybridized version of both. For another, it’s a masterwork, so fie upon labels. Night of the Hunter lurks in shadows and revels in misogyny. Whether you’ve seen it or not, you probably have the image of Robert Mitchum’s tattooed knuckles imprinted upon your brain thanks to pop culture osmosis. Reverend Harry Powell is quite the villain, a man as quick to distort the truth with honey-coated lies as Laughton is to distort reality through oblique perspective, unnerving use of shadows and light, and a dizzying array of camera compositions that make small-town West Virginia feel altogether otherworldly. —Andy Crump 3. ZodiacDirector: David Fincher Year: 2007 I hate to use the word “meandering,” because it sounds like an insult, but David Fincher’s 2007 thriller is meandering in the best possible way—it’s a detective story about a hunt for a serial killer that weaves its way into and out of seemingly hundreds of different milieus, ratcheting up the tension all the while. Jake Gyllenhaal is terrific as Robert Graysmith, an amateur sleuth and the film’s through line, while the story is content to release its clues and theories to him slowly, leaving the viewer, like Graysmith, in ambiguity for long stretches, yet still feeling like a fast-paced burner. It’s not Fincher’s most famous film, but it’s absolutely one of the most underrated thrillers since 2000. There are few scenes in modern cinema more taut than when investigators first question unheralded character actor John Carroll Lynch, portraying prime suspect Arthur Leigh Allen, as his facade slowly begins to erode—or so we think. The film is a testament to the sorrow and frustration of trying to solve an ephemeral mystery that often seems to be just out of your grasp. —Shane Ryan 2. The Silence of the LambsYear: 1991 Director: Jonathan Demme In the face of grotesque sequels, lesser prequels and numerous parodies, The Silence of the Lambs still stands as a cinematic work of art among crime dramas and serial killer movies, only the third film ever to win the five gold rings of Oscar-dom: Best Picture, Director, Actor, Actress and Screenplay. Anthony Hopkins’ portrayal of the murderous Hannibal Lecter especially proves the worth of surrounding one of cinema’s greatest thespians with a stellar supporting team, though director Jonathan Demme deftly wields the brush of that talent to bring audiences into the dark, sadistic world of Dr. Lecter while leaving them gasping at the twists and turns of novelist Thomas Harris’ gruesomely wonderful story. As happens with all great films, second and third viewings fail to diminish the ride, but instead reveal even more subtleties of characterization. And Demme’s own style behind the camera makes the close-up world of Silence of the Lambs an unforgettable visual parlor of grotesqueries. —Tim Basham 1. PsychoYear: 1960 Director: Alfred Hitchcock The big one. The biggest one, perhaps, though if not, it’s still pretty goddamn big. Almost 60 years after Alfred Hitchcock unleashed Psycho on an unsuspecting moviegoing culture, finding new things to say about it feels like a fool’s errand, but hey: Five decades and change is a long time for a movie’s influence to continue reverberating throughout popular culture, but here we are, watching main characters lose their heads in Game of Thrones, their innards in The Walking Dead, or their lives, in less flowery language, in films like Alien, the Alien rip-off Life and, maybe most importantly, Scream, the movie that is to contemporary horror what Psycho was to genre movies in its day. That’s pretty much the definition of “impact” right there (and all without even a single mention of A&E’s Bates Motel).
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"https://www.goodhousekeeping.com/_assets/design-tokens/fre/static/icons/social/tiktok.603c377.svg?primary=%2523000000&id=social-button-icon", "https://www.goodhousekeeping.com/_assets/design-tokens/fre/static/icons/social/youtube.ce3e1ae.svg?primary=%2523000000&id=social-button-icon", "https://www.goodhousekeeping.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523000000&id=social-button-icon", "https://www.goodhousekeeping.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523000000&id=social-button-icon", "https://www.goodhousekeeping.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523000000&id=social-button-icon", "https://www.goodhousekeeping.com/_assets/design-tokens/goodhousekeeping/static/images/logos/network-logo.ae25366.svg?primary=%2523ffffff" ]	[]	[]	[ "Most Popular" ]	null	[ "Lizz Schumer", "Adrianna Freedman" ]	2020-08-06T14:12:06.574031-04:00	These are the best psychological thriller movies of all time that you can stream now, including new and old films and some based on disturbing true stories.	en	/_assets/design-tokens/goodhousekeeping/static/images/favicon.8e97a02.ico	Good Housekeeping	https://www.goodhousekeeping.com/life/entertainment/g33446242/best-psychological-thriller-movies/	When it comes to scary movies, many love to go to the cinema for the chance to experience a jump scare and being at the edge of their seats. While that's common with horror films, a psychological thriller movie is a bit different. These films get inside your head, giving you a scare that stays long after the lights come back on. They also take some time for the true horror to build, sometimes with an unexpected twist the viewer never saw coming. If you're looking for the best psychological thriller movies, we curated a list perfect for anyone who wants to take their time getting frightened. Some are from directors that have mastered the art of suspense — like Jordan Peele, Martin Scorsese and David Fincher. Others are famous book-to-movie adaptations, like The Shining, A Simple Favor or The Invisible Man. Whichever movie you decide to watch, just be prepared to not necessarily sleep at night. After all, what point is watching a psychological thriller if you're not thinking about it long after you go to bed?
6282	dbpedia	1	28	https://www.history.com/news/10-things-you-may-not-know-about-the-pinkertons	en	10 Things You May Not Know About the Pinkertons	https://assets.editorial…d-his-agents.jpg	https://assets.editorial…d-his-agents.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=3005002&cs_ucfr=1&cv=3.6&cj=1", "https://www.history.com/assets/images/history/logo.svg", "https://www.history.com/assets/images/history/logo.svg", "https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=640&height=426.66666666666663&crop=640%3A426.66666666666663%2Csmart&quality=75&auto=webp 640w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=750&height=500&crop=750%3A500%2Csmart&quality=75&auto=webp 750w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=828&height=552&crop=828%3A552%2Csmart&quality=75&auto=webp 828w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=1080&height=540&crop=1080%3A540%2Csmart&quality=75&auto=webp 1080w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=1248&height=624&crop=1248%3A624%2Csmart&quality=75&auto=webp 1248w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=1920&height=960&crop=1920%3A960%2Csmart&quality=75&auto=webp 1920w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=2048&height=1024&crop=2048%3A1024%2Csmart&quality=75&auto=webp 2048w, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-and-his-agents.jpg?width=3840&height=1920&crop=3840%3A1920%2Csmart&quality=75&auto=webp 3840w", "https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-1860-credit-chicago.jpg?width=750&height=421&crop=750%3A421%2Csmart&quality=75&auto=webp 1x, https://assets.editorial.aetnd.com/uploads/2015/10/allan-pinkerton-1860-credit-chicago.jpg?width=1920&height=1078&crop=1920%3A1078%2Csmart&quality=75&auto=webp 2x", "https://assets.editorial.aetnd.com/uploads/2022/02/kate_warne_1920x1080.jpg?width=1080&height=608&crop=1080%3A608%2Csmart&quality=75&auto=webp 1x, https://assets.editorial.aetnd.com/uploads/2022/02/kate_warne_1920x1080.jpg?width=2048&height=1152&crop=2048%3A1152%2Csmart&quality=75&auto=webp 2x", "https://assets.editorial.aetnd.com/history-article-default.desktop.jpg", "https://assets.editorial.aetnd.com/history-article-default.desktop.jpg", "https://assets.editorial.aetnd.com/uploads/2015/10/william-pinkerton-flanked-by-two.jpg?width=750&height=421&crop=750%3A421%2Csmart&quality=75&auto=webp 1x, https://assets.editorial.aetnd.com/uploads/2015/10/william-pinkerton-flanked-by-two.jpg?width=1920&height=1078&crop=1920%3A1078%2Csmart&quality=75&auto=webp 2x", "https://assets.editorial.aetnd.com/uploads/2015/10/detectives-from-the-pinkerton-agency.jpg?width=750&height=421&crop=750%3A421%2Csmart&quality=75&auto=webp 1x, https://assets.editorial.aetnd.com/uploads/2015/10/detectives-from-the-pinkerton-agency.jpg?width=1920&height=1078&crop=1920%3A1078%2Csmart&quality=75&auto=webp 2x", "https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=16&quality=75&auto=webp 16w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=32&quality=75&auto=webp 32w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=48&quality=75&auto=webp 48w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=64&quality=75&auto=webp 64w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=96&quality=75&auto=webp 96w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=128&quality=75&auto=webp 128w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=256&quality=75&auto=webp 256w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=392&quality=75&auto=webp 392w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=640&quality=75&auto=webp 640w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=750&quality=75&auto=webp 750w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=828&quality=75&auto=webp 828w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1080&quality=75&auto=webp 1080w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1248&quality=75&auto=webp 1248w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1920&quality=75&auto=webp 1920w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=2048&quality=75&auto=webp 2048w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=3840&quality=75&auto=webp 3840w" ]	[]	[]	[ "" ]	null	[ "Evan Andrews" ]	2015-10-23T15:52:32+00:00	Long before there was a Federal Bureau of Investigation, there was the Pinkerton National Detective Agency. Check out 10 little‑known facts about the detective agency that helped usher in the modern era of law enforcement.	en	https://www.history.com/…e-touch-icon.png	HISTORY	https://www.history.com/news/10-things-you-may-not-know-about-the-pinkertons	1. Its founder became a detective by accident. In 1842, Allan Pinkerton immigrated to the Chicago area and opened a cooperage or barrel-making business. His detective career began just five years later, when he stumbled upon a band of counterfeiters while scrounging for lumber on an island in the Fox River. The Scotsman conducted informal surveillance on the gang and was hailed as a local hero after he helped police make arrests. “The affair was in everybody’s mouth,” he later wrote, “and I suddenly found myself called upon from every quarter to undertake matters requiring detective skill.” Pinkerton soon won a gig as a small-town sheriff. He went on to work as Chicago’s first police detective and as an agent for the U.S. Post Office. Around 1850, he opened the private investigation firm that became the Pinkerton National Detective Agency. 2. The Pinkertons inspired the term 'private eye.' The Pinkerton agency first made its name in the late-1850s for hunting down outlaws and providing private security for railroads. As the company’s profile grew, its iconic logo—a large, unblinking eye accompanied by the slogan “We Never Sleep”—gave rise to the term “private eye” as a nickname for detectives. 3. They hired the nation’s first female detective. In 1856, 23-year-old widow Kate Warne walked into Pinkerton’s Chicago office and requested a job as a detective. Allan Pinkerton was hesitant to hire a female investigator, but he gave in after Warne convinced him that she could “worm out secrets in many places to which it was impossible for male detectives to gain access.” True to her word, Warne proved to be an expert at working undercover, once busting a thief by cozying up to his wife and convincing her to reveal the location of the loot. During another case, she got a suspect to feed her crucial information by disguising herself as a fortune-teller. Pinkerton would later list Warne as one of the best investigators he ever hired. Following her death in 1868, he even had her buried in his family plot. 4. The Pinkertons may have foiled an assassination attempt on Abraham Lincoln. Shortly before Abraham Lincoln’s first inauguration in March 1861, Allan Pinkerton traveled to Baltimore on a mission for a railroad company. The detective was investigating rumors that Southern sympathizers might sabotage the rail lines to Washington, D.C., but while gathering undercover intelligence, he learned that a secret cabal also planned to assassinate Lincoln—then on a whistle-stop tour—as he switched trains in Baltimore on his way to the capital. Pinkerton immediately tracked down the president-elect and informed him of the alleged plot. With the help of Kate Warne and several other agents, he then arranged for Lincoln to secretly board an overnight train and pass through Baltimore several hours ahead of his published schedule. Pinkerton operatives also cut telegraph lines to ensure the conspirators couldn’t communicate with one another, and Warne had Lincoln pose as her invalid brother to cover up his identity. The president-elect arrived safely in Washington the next morning, but his decision to skirt through Baltimore saw him lampooned and labeled a coward in the press. Meanwhile, none of the would-be assassins was ever arrested, leading some historians to conclude that the threat may have been exaggerated or even invented by Pinkerton. 5. They spied for the Union Army during the Civil War. Allan Pinkerton was a staunch abolitionist and Union man, and during the Civil War, he organized a secret intelligence service for General George B. McClellan’s Army of the Potomac. Operating under the name E.J. Allen, Pinkerton set up spy rings behind enemy lines and infiltrated southern sympathizer groups in the North. He even had agents interview escaped slaves to glean information about the Confederacy. The operation produced reams of intelligence, but not all of it proved accurate. A famous misstep came during 1862’s Peninsula Campaign when Pinkerton reported that the Confederate forces around Richmond were more than twice their actual size. McClellan believed the faulty intel, and despite outnumbering the rebels by a large margin, he delayed his advance and made repeated calls for reinforcements. 6. The Pinkertons created one of the world’s earliest criminal databases. One of the many ways the Pinkertons revolutionized law enforcement was with their so-called “Rogues’ Gallery,” a collection of mug shots and case histories that the agency used to research and keep track of wanted men. Along with noting suspects’ distinguishing marks and scars, agents also collected newspaper clippings and generated rap sheets detailing their previous arrests, known associates and areas of expertise. A more sophisticated criminal library wouldn’t be assembled until the early 20th century and the birth of the FBI. 7. The Pinkertons warred with Jesse James and his gang. During the era of frontier expansion, express companies and railroads often employed the Pinkertons as Wild West bounty hunters. The agency famously infiltrated the Reno gang—perpetrators of the nation’s first train robbery—and later chased after Butch Cassidy and his Wild Bunch. The Pinkertons usually got their man, but in the 1870s, they spent months engaged in a fruitless hunt for the bank robbers Jesse and Frank James. One of their agents was murdered while trying to infiltrate the brothers’ Missouri-based gang, and two more died in a shootout. The hunt came to a bloody end in 1875, when the Pinkertons launched a raid on the James brothers’ mother’s house in Clay County, Missouri. Frank and Jesse were nowhere to be found—they’d been tipped off—but the Pinkertons got into an argument with their mother, Zerelda Samuel. During the standoff, a member of the detectives’ posse tossed an incendiary device through Samuel’s window, blowing part of her arm off and killing the James brothers’ 8-year-old half-brother. The botched raid turned public opinion against the Pinkertons. After seeing his detectives denounced as murderers in the papers, Allan Pinkerton reluctantly called off his war against the James gang. Jesse would go on to elude the authorities for another seven years before being killed by an assassin’s bullet in 1882. 8. They played a role in 1892’s infamous Homestead Mill Strike. Along with their exploits in the Wild West, the Pinkertons also had a more sinister reputation as the paramilitary wing of big business. Industrialists used them to spy on unions or act as guards and strikebreakers, and detectives clashed with workers on several occasions. During an 1892 strike by the Amalgamated Association of Iron and Steel Workers, the Carnegie Steel Company paid some 300 Pinkertons to act as security at its mill in Homestead, Pennsylvania. After arriving at the plant on river barges, the agents squared off with thousands of striking workers in an all-day battle waged with guns, bricks and even dynamite. By the time the outnumbered Pinkertons finally surrendered, at least a dozen people were dead and several more wounded. The fallout from the melee crippled the steel union, but many also branded the Pinkertons as “hired thugs,” leading several states to pass laws banning the use of outside guards in labor disputes. 9. The Pinkertons were once larger than the U.S. Army. After Allan Pinkerton died in 1884, control of his agency fell to his two sons, Robert and William. The company continued to grow under their watch, and by the 1890s, it boasted 2,000 detectives and 30,000 reserves—more men than the standing army of the United States. Fearful that the agency could be hired as a private mercenary army, the state of Ohio later outlawed the Pinkertons altogether. 10. The agency still exists today. By the early 20th century, the Pinkertons’ crime-fighting duties had largely been absorbed by local police forces and agencies like the FBI. The company lived on as a private security firm and guard service, however, and still operates today under the shortened name “Pinkerton.”
6282	dbpedia	3	66	https://www.watchmojo.com/articles/top-10-whodunit-mystery-movies	en	Top 10 Whodunit Mystery Movies	https://www.watchmojo.co…pg?2022-04-21.v2	https://www.watchmojo.co…pg?2022-04-21.v2	[ "https://www.watchmojo.com/2016/img/wm_logo3_2018.png", "https://www.watchmojo.com/2016/img/wm_logo3_2018.webp", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top10-Whodunit-Movies_K1K9J1-CJ1F_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/MM-Film-Top-10-Background-Details-You-Missed-in-Murder-Mysteries_R1Z0D5-ED2_480.webp", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top10-Movies-Based-on-Real-Unsolved-Mysteries_B3U5U8-CJ2F_480.png", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top-10-Historically-Accurate-Mystery-Movies_A5G0M1-MP4F_480.webp", "https://www.watchmojo.com/uploads/blipthumbs/WMS-MojoAtTheMovies-MurderOnTheOrientExpress_R6U5K4_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top10-Movie-Mysteries-That-Still-Havent-Been-Solved_E2I1M5-ALT-LS-2F_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/Fi-M-Top10-Films-About-Serial-Killers_H3Q8H0-720p30-2_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Pop-Top10-Mysteries-That-Will-Probably-NEVER-Be-Solved_Z2T9W2-LS_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top20-Most-Rewatched-Scenes-in-Thriller-Movies_M4H0H3-4F_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top10-Things-Zodiac-Got-Factually-Right-and-Wrong_C0X4T7-V1_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Pop-Top-10-Actors-Who-Looked-EXACTLY-Like-the-Real-Life-Killers-They-Played_F5Q2G7-AT-1F_480.webp", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top20-Movie-Thriller-Twists_P6T7P7-ALT-LS-2_480.jpg", "https://www.watchmojo.com/uploads/blipthumbs/WM-Film-Top20-Movies-That-Will-Make-You-Paranoid_F5E7Z0-MPAF_480.jpg", "https://www.watchmojo.com/my/images/anonymous.png" ]	[]	[]	[ "whodunit movies", "whodunit films", "whodunit", "mystery", "mystery movies", "movie mysteries", "mysteries", "film mysteries", "crime movies", "thriller movies", "thriller", "crime", "criminal", "killer", "murder", "serial killer", "movie crimes", "memento", "knives out", "scream", "seven", "murder on the orient express", "the long goodbye", "the maltese falcon", "watchMojo", "watch mojo", "mojo", "top 10", "list", "Mystery", "Thriller", "Film", "Movies", "best movies" ]	null	[ "Mimi Kenny" ]	2022-11-29T15:00:00-05:00	These mystery films kept audiences guessing until the very end! For this list, we'll be looking at the best movies revolving around the mystery of who committed a nefarious crime!	en	/2016/img/wm-icon.png	WatchMojo	https://www.watchmojo.com/articles/top-10-whodunit-mystery-movies	#10: “Memento” (2000) Christopher Nolan’s breakout film is anything but straightforward. And we mean that part of it is literally structured backwards. In this thriller, Guy Pearce plays Leonard, a man with memory issues trying to solve the death of his wife. With little more than Polaroid photos and tattoos to guide him, Leonard is both haunted and perplexed. You’ll need to pay close attention to follow all the twists and turns of this mystery. Based on a short story by his brother Jonathan, Nolan's script and direction make you feel like you’re right there in Leonard’s shoes, as does Pearce's intense performance. You might not understand everything the first time you see "Memento." But you will never forget it. #9: “The Long Goodbye” (1973) Raymond Chandler is one of the most renowned authors in detective fiction, and Philip Marlowe is his most well-known creation. The observant and witty Marlowe is the perfect man to crack seemingly unsolvable mysteries. And "The Long Goodbye" is a fascinating look at this iconic character. Directed by Robert Altman, the film takes the character, associated with the 30s and 40s, and drops him into the then-modern era of the 70s. Though some took issue with the film's revisionist take on Marlowe and Elliott Gould's slovenly portrayal, appreciation for the film and how it examines detective movies from a complex angle has grown. While it might not be the Philip Marlowe you remember from “The Big Sleep,” “The Long Goodbye’ is still a fantastic neo-noir. #8: “Who Framed Roger Rabbit” (1988) “Who Framed Roger Rabbit” is fondly remembered for its memorable characters and seamless blending of animation and live-action. But we should remember that it’s also just a great detective story. After excitable Toon Roger Rabbit is implicated in a grisly crime, he teams up with hardboiled detective Eddie Valiant, who learns that Toontown isn’t all fun and gags. A great homage to both classic cartoons and detective stories, “Who Framed Roger Rabbit” is one that viewers of all ages can love. Even after countless viewings, we’re still amazed and delighted by it. #7: “Seven” (1995) In some whodunits, finding the culprit ensures a tidy, satisfying conclusion. That’s not the case in “Seven,” David Fincher’s haunting thriller about two detectives trying to track down a serial killer with a twisted sense of morality. Using the seven deadly sins for reference, the deranged John Doe tests the resolve of both the energetic Detective David Mills and the weary Detective Lieutenant William Somerset. This leads to a climax that redefines the meaning of the word “shocking.” With great performances from Brad Pitt and Morgan Freeman and uncompromising direction by Fincher, “Seven” is a grim, upsetting, and highly thoughtful examination of what it means to live in an unpredictable world. #6: “Gosford Park” (2001) Director Robert Altman worked in a variety of genres. But he had a real knack for mysteries, as shown by “The Long Goodbye” and “Gosford Park.” A mystery in the style of Agatha Christie, "Gosford Park" brings together a massive ensemble without ever feeling overloaded. In the film, a group of British elites in the 1930s find their weekend getaway spoiled by a gruesome death. Both a compelling mystery, a beautifully shot period piece, and a sharp satire of the upper-class, “Gosford Park” might seem old-fashioned in some regards, but its message and overall quality are timeless. #5: “Scream” (1996) The first “Scream” is both a great satire of slasher film tropes and an excellent murder mystery overall. When a masked killer who’s seen one too many horror movies is on the loose, high schooler Sidney Prescott needs to use all of her determination and intelligence to survive. By thoughtfully critiquing the slasher genre, “Scream” managed to revive it. But without horror legend Wes Craven’s sharp direction, Kevin Williamson’s witty script, and Neve Campbell’s sympathetic starring performance, they can’t compare. “Scream” is likely to have you both screaming and laughing without ever feeling tonally off. #4: “Murder on the Orient Express” (1974) We couldn’t possibly make a list of the best whodunits without mentioning at least one Agatha Christie adaptation. And this is arguably the best of the bunch. Directed by Sidney Lumet and featuring a stacked cast, including Albert Finney as mustachioed detective Hercule Poirot, “Murder on the Orient Express” is everything you’d want from a Christie adaptation. And Christie herself agrees, calling it one of the few adaptations of her work she actually liked. If you loved the 2017 adaption, we highly recommend checking out the 70s version to see another great take on this author’s work. #3: “Knives Out” (2019) Another whodunit indebted to Agatha Christie, “Knives Out,” is as sharp as its titular weaponry. When a famous mystery author is found dead, renowned sleuth Benoit Blanc (played by Daniel Craig) believes it’s not as straightforward as it seems. Meanwhile, the author’s spoiled family is less in mourning and more eyeing their inheritance. It’s hard to discuss “Knives Out” without potentially giving away key plot elements. But its clever and unpredictable narrative, social commentary, and great ensemble - with a standout performance by Ana de Armas - make the film a must-see for mystery fans. #2: “L.A. Confidential” (1997) It’s one thing to be able to recreate a time and place as well as this film does with 1950s Los Angeles. It’s another to go further than just great cinematography and production design. In this modern take on classic noir, based on James Ellroy’s novel, law enforcement and Hollywood collide for one complicated but engrossing story. There are many characters and plot elements to keep track of, but it's a pleasure to follow both aspects. With an incredible cast including pre-stardom Russell Crowe and Guy Pearce, as well as an Oscar-winning Kim Basinger, it's no secret that "L.A. Confidential" is amazing. Before we unveil our top pick, here are a few honorable mentions. “Witness for the Prosecution” (1957) An Excellent Agatha Christie Adaptation from Billy Wilder “Zodiac” (2007) Another Great Mystery from David Fincher “Charade” (1963) This Caper Is Considered by Many to Be the Best Hitchcock Movie Alfred Hitchcock Never Made “Brick” (2005) “Knives Out” Director Rian Johnson Brought Noir to High School in His Excellent Debut #1: “The Maltese Falcon” (1941) “The Maltese Falcon” isn’t just the best whodunit movie; it’s also arguably the most important one. The third and by-far best adaptation of Dashiell Hammett’s novel, the film launched the careers of director John Huston and star Humphrey Bogart and, to some, the genre of noir as a whole. Bogart plays Sam Spade, a now-archetypal film detective, who finds himself wrapped up in a case of murder and a bird statuette. With its ingenious plotting, great cast, and brilliant cinematography, “The Maltese Falcon” became a surprise hit upon release and still endures as a classic. To quote the film, it’s “the stuff that dreams are made of.”
6282	dbpedia	3	89	https://www.theguardian.com/film/2024/jan/30/circle-of-danger-review-hitchcock-esque-thriller-is-a-gem-of-a-movie	en	Circle of Danger review – Jacques Tourneur’s Hitchcock-esque thriller is a gem	https://i.guim.co.uk/img…e34a4ecbb58571f1	https://i.guim.co.uk/img…e34a4ecbb58571f1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CThrillers%2CCrime+films%2CCulture", "https://i.guim.co.uk/img/media/f8838515babf942a65e391e7e257536035b1b4b2/46_92_3179_1908/master/3179.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2018/01/10/Peter_Bradshaw,_L.png?width=75&dpr=1&s=none" ]	[ "https://www.youtube-nocookie.com/embed/_4GTs-Fcl3E?wmode=opaque&feature=oembed" ]	[]	[ "" ]	null	[ "Peter Bradshaw", "www.theguardian.com" ]	2024-01-30T00:00:00	First released in 1951, this endlessly entertaining film is an absorbing tale of an American arriving in postwar Britain looking for answers about his slain younger brother	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/film/2024/jan/30/circle-of-danger-review-hitchcock-esque-thriller-is-a-gem-of-a-movie	This 1951 drama-thriller from director Jacques Tourneur and veteran genre writer Philip MacDonald, which sees Ray Milland coming to grimy postwar Britain demanding answers about his brother’s death, is a gem: focused, fast-moving and a little eccentric. It is a British-set movie that takes us on a travelogue tour from the coast of Tampa, Florida, to London – and from there to Wales, the Scottish Highlands and Birmingham. There is a lovely scene shot on location in London’s Covent Garden, in the days of the fruit and veg market, with crowds of real people looking on. There are no explicit action sequences: no shootouts, not even a punch-up. But it’s entirely absorbing with an undertow of mystery and tension, a mix of humour and seriousness that Alfred Hitchcock would have recognised and a streak of wayward romance that put me in mind of Powell and Pressburger. These comparisons are partly down to the casting – many actors here gave more well-known (though not necessarily better) performances for these other iconic directors – but also down to Circle of Danger being produced by the brilliant and formidable screenwriter Joan Harrison, a longtime associate of Hitchcock’s whose biography was published by Christina Lane in 2020 but who deserves much more attention from movie historians. Milland plays Clay Douglas, a tough American with a sentimental sense of his own Scottish heritage, who comes to Britain to find out what really happened to his kid brother during the second world war. Impressed by the British standing alone against the Nazis, the younger American had gallantly volunteered for the British military in 1940, and was killed in action as part of a commando raid in northern France. He was not universally liked in the ranks and was the only man in his unit to die, in circumstances that seem oddly unexplained. Clay wants answers, and his quest for the truth takes him to his brother’s former commanding officer Hamish McArran (Hugh Sinclair), and in bohemian London to another officer, Sholto Lewis (Marius Goring), now a smarmy and obnoxious ballet choreographer (depicted, sadly, with a touch of that era’s casual homophobia). Clay falls in love with a beautiful young English writer in Scotland called Elspeth Graham (played by the Gainsborough star Patricia Roc) and has a running-joke inability to be on time for their dates. Most hilariously, he has an encounter with Reggie Sinclair, an army intelligence officer who in Civvy Street has become a rackety used-car-dealer, played with gimlet-eyed wit and fun by Naunton Wayne. He is married to a bubbly nightclub singer, a small role from which Dora Bryan lovingly squeezes every drop. It is an endlessly watchable and entertaining film, with a tense and eerie final confrontation scene: an impromptu “shooting party” which is the only sequence where firearms make an appearance, all accompanied by the thin howling of the wind. And it’s wrapped up in a tight 86 minutes: a really sharp and elegant piece of storytelling.
6282	dbpedia	3	5	https://www.empireonline.com/movies/features/best-murder-mystery-movies/	en	The 20 Best Murder-Mystery Movies	https://images.bauerhost…w=undefined&q=80	https://images.bauerhost…w=undefined&q=80	[ "https://images.bauerhosting.com/empire/2023/09/murder-mystery-header.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=480&q=80 480w, https://images.bauerhosting.com/empire/2023/09/murder-mystery-header.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=768&q=80 768w, https://images.bauerhosting.com/empire/2023/09/murder-mystery-header.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=992&q=80 992w, https://images.bauerhosting.com/empire/2023/09/murder-mystery-header.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1200&q=80 1200w, https://images.bauerhosting.com/empire/2023/09/murder-mystery-header.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1440&q=80 1440w", "https://images.bauerhosting.com/empire/2023/09/Clue.jpg?auto=format&w=384&q=80 384w, 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"https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=384&q=80 384w, https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=480&q=80 480w, https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=768&q=80 768w, https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=992&q=80 992w, https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=1200&q=80 1200w, https://images.bauerhosting.com/empire/2023/09/rear-window.jpg?auto=format&w=1440&q=80 1440w", "https://www.empireonline.com/assets/facebook.svg 1x, /assets/facebook.svg 2x", "https://www.empireonline.com/assets/twitter.svg 1x, /assets/twitter.svg 2x", "https://www.empireonline.com/assets/pinterest.svg 1x, /assets/pinterest.svg 2x" ]	[]	[]	[ "" ]	null	[]	2023-09-15T00:00:00	Our main suspects for the very best in the whodunnit genre. Read now at Empire.	en	/assets/empire/favicon.ico	Empire	https://www.empireonline.com/movies/features/best-murder-mystery-movies/	The murder-mystery renaissance really is in full effect right now. The likes of Only Murders In The Building, Poker Face, and Apple TV’s The Afterparty have been making armchair detectives of us all on the telly side of things, but it’s the big screen sleuthing boom that’s had genre fans flocking to the multiplexes with their magnifying glasses and (presumably) deerstalkers most recently. With whodunnits as wildly varied as Park Chan-wook’s sensual Decision To Leave, the superbly silly See How They Run, Rian Johnson’s slyly subversive Benoit Blanc mysteries, and even Matt Reeves’ The Batman – which leans hard into the ‘D’ of DC Comics – on offer, it’s not exactly hard to see why, either. Now, as we prepare to take enough champagne to fill the, erm, canals of Venice with us to see Kenneth Branagh’s third Poirot outing A Haunting In Venice, we at Empire HQ have put our tan raincoats on and launched an investigation into the very best the genre has to offer. From golden-age greats to contemporary classics, hard-boiled noirs to side-splitting send-ups, we’ve drawn up a list that we suspect as being the very best murder-mystery films ever made. One thing’s for sure, every pick’s a killer. 20) Clue (1985) Shipped to cinemas with three unique endings, Jonathan Lynn’s Clue may not necessarily be the greatest murder-mystery ever made, but it might just be the most murder-mystery movie ever made. A twist-packed, fantastically farcical adaptation of the titular board game (AKA ‘Cluedo’ here in Blighty), Lynn’s film sees six blackmail victims gathered in the mansion home of Mr. Boddy (Lee Ving), their collective tormentor. When Mr. Boddy bites the dust, the six find themselves trying to suss out the killer among them as the body count rises. Led by the inimitable Tim Curry, who brings so much energy to campy butler Wadsworth that the star later recalled to Empire having “blood pressure through the roof!”, a game ensemble also featuring Christopher Lloyd and Madeline Kahn take it in turns to steal scenes from one another as they land zinger after zinger. And somehow, amidst the madness of it all, the whole thing manages to be a genuinely compelling whodunnit. “Flames, on the side of my face!” Classic. 19) Memories Of Murder (2003) Long before Parasite made Bong Joon-ho a household name, the South Korean auteur made what many would still call his opus – Memories Of Murder. Based on the first serial killings in South Korea’s history, the film eschews genre convention to instead focus on the two young detectives charged with catching the killer, Park Doo-man (Song Kang-ho) and Seo Tae-yoon (Kim Sang-kyung). From the opening shot of a leaf of corn hanging corpse-like beneath a golden sky, Memories’ hauntingly beautiful camerawork zeroes in on the way nothing – and no-one – is left untainted by events such as these. And, as the quick-to-violence Park and increasingly desperate Seo dropkick, torture, and cling to every possible lead they find, Bong boldly confronts a judicial methodology that destroys as many lives as it aims to save. That the Hwaesong killer still hadn’t been caught when the film was released only gives the movie – and its all-timer of an ending – even more power, as Bong Joon-ho dares to stare evil in the eye. Read the Empire review of Memories Of Murder. 18) Laura (1944) Director Otto Preminger blends swooning romance, sultry noir and thrilling murder-mystery with Laura, which follows Detective Mark McPherson (Dana Andrews) as he attempts to track down the killer of the beautiful, much-adored, much-envied titular character. Gene Tierney’s Laura is the kind of woman that people can’t help falling in love with – even Detective McPherson – meaning there are any number of suspects in her death. The film’s stunning black-and-white cinematography and sinister, swelling musical theme make up for some contrived twists – as does the cast performances, particularly Clifton Webb in his first major film role as jealous columnist and narrator Waldo Lydecker, and Vincent Price as Laura’s fiancee Shelby Carpenter. Read the Empire review of Laura. 17) L.A. Confidential (1997) Adapting a James Ellroy novel is no easy feat — even Brian De Palma struggled with The Black Dahlia. But with L.A. Confidential, writer Brian Helgeland and director Curtis Hanson made it work to Oscar-winning effect. It helps that he had a cast stacked with great actors including Russell Crowe, Guy Pearce, James Cromwell and, yes, Kevin Spacey, in this twisty story of corruption among the cops in 1956 Los Angeles, the city portrayed here as more one of human demons than angels. As a central mystery, it has some unexpected moments and shocks in there – will you guess who is really behind the Night Owl murders before the movie reveals it to you in bloody fashion? Read the Empire review of L.A. Confidential. 16) Gosford Park (2001) With its period setting, upstairs-downstairs dynamic, Dame Maggie Smith starring role, and Julian Fellowes on writing duties, Gosford Park plays like director Robert Altman’s own decidedly more murderous twist on Downton Abbey, in the best way. Set in the 1930s at a hunting resort get-together for the rich and famous, Altman takes an epic ensemble cast – Smith, Michael Gambon, Kristin Scott Thomas, Richard E. Grant, Charles Dance and many, many more – and lets the sparks fly, skewering the selfishness and snobbery of the British elite with scathing wit. Such is the quality of the writing and character work here that it’s easy to forget that the actual murder in this murder-mystery doesn’t even happen until over halfway through the film. And by the time Stephen Fry’s brilliant, bumbling Inspector Thompson eventually arrives on the scene, you’ll be as puzzled as he is trying to figure out whodunnit. Read the Empire review of Gosford Park 15) Game Night (2018) A deliciously meta action comedy from Dungeons & Dragons: Honour Among Thieves’ John Francis Daley and Jonathan Goldstein, Game Night may not be a murder-mystery by traditional metrics. But, the whole thing is set in motion by a murder-mystery evening, and it constantly has you guessing whodunnit – and what ‘it’ even is – throughout, so we’re counting it here. Jason Bateman and Rachel McAdams star as super competitive couple Annie and Max, whose skills are put to the test when Max’s egotistical brother Brooks (Kyle Chandler) gets kidnapped for real when their game night goes awry. Beyond being one of the best comedies of the last decade (McAdams’ “Oh no! He died!” may well be the greatest line read in film history), this one earns its place on this list by delivering a remarkable number of twists and turns, as it builds towards an eye-widening final reveal that actually sticks the landing. And unlike some others in the genre, this is one that only gets better on the rewatch. Now, give us a sequel! Read the Empire review of Game Night. 14) The Nice Guys (2016) Russell Crowe and Ryan Gosling forge the ultimate bromance as mismatched private eyes brought together to investigate the death of a famous porn star and a missing girl’s disappearance in Shane Black’s The Nice Guys. Set in 70s LA, Black’s action-comedy crime caper offers style and substance aplenty as Crowe’s divorce-embittered Jackson Healy and Gosling’s inept single father Holland March unearth a city-wide conspiracy, hilariously trying to one-up each other whilst convincingly doing the business when the moment for action arises. A loving homage to L.A. Confidential, complete with a Kim Basinger appearance, The Nice Guys hits all the murder-mystery genre beats with flair whilst resurrecting the buddy cop movie in the process. Offering banter, bone-breaking badassery, and a bona-fide sense of “Where is this all going?”, there’s a reason why seven years since its release, fans are still clamouring for a sequel. Title suggestion: 2 Nice Guys. Read the Empire review of The Nice Guys. 13) Brick (2005) Long before Rian Johnson introduced the world to gentleman sleuther Benoit Blanc, the filmmaker brought us Joseph Gordon-Levitt’s teenage loner-turned-private investigator Brendan Frye in high school neo-noir Brick. Invoking the spirits of Dashiell Hammett, Raymond Chandler and Humphrey Bogart with its distinct brand of noirspeak and Brendan’s assumption of the gumshoe detective role, Johnson’s film sees Brendan infiltrating his high school’s underworld when his ex (Emilie de Ravin) winds up dead in a storm drain. Artfully shot, slickly scripted, and edited on a laptop, Brick not only functions as a head-scratching murder-mystery in its own right, but indelibly captures the spirit and conventions of noir for a whole new generation. Read the Empire review of Brick. 12) Who Framed Roger Rabbit (1988) When’s a film noir not a film noir? When it’s a noir-toon of course – which is exactly what Robert Zemeckis’ classic live-action cartoon hybrid Who Framed Roger Rabbit is. Bob Hoskins stars – and indeed shines – as Eddie Valiant, the toon-hating detective tasked with exonerating cotton-tailed cuckold Roger Rabbit (Charles Fleischer) when he’s accused of murder. Hoskins laudably plays it straight as the alcoholic PI with a chip on his shoulder and a nose for a conspiracy, immersing himself in a world of make-believe so that the toons can go crazy – and crazy they do go! Somehow juggling noir archetypes – Jessica Rabbit is arguably still the most well–known femme fatale in film – with inspired pairings like Donald and Daffy Duck, Mickey Mouse and Bugs Bunny, Zemeckis fashions a genre piece that works because it respects both of the worlds it’s moving between. The result is a real loony toon with big The Big Sleep energy. Read the Empire review of Who Framed Roger Rabbit. 11) Hot Fuzz (2007) “Oh, murder, murder, murder. Change the fucking record!” So says Paddy Considine’s DS Andy Wainwright in Edgar Wright’s endlessly quotable buddy cop murder-mystery Hot Fuzz. But far from changing the record, Wright remixes the genre’s greatest hits to great effect here as London copper Nicholas Angel (Simon Pegg) and featherbrained PC Danny Butterman (Nick Frost) set out to prove there’s a reason the sleepy town of Sandford has such a high accident rate. Whilst primarily a work of action homage, with Wright tipping his hat to those including Michael Bay, Tony Scott and Katheryn Bigelow, the Shaun Of The Dead director has a lot of fun playing within the murder-mystery wheelhouse here too. Timothy Dalton’s blindingly obviously crooked Simon Skinner plays like a British take on a Columbo villain, while the film’s murderous machinations are smoothly sanded by a distinctly Agatha Christie kind of rural cosiness, something Wright plays with brilliantly. As Danny would say, it’s off the fuckin’ chain! Read the Empire review of Hot Fuzz. 10) Zodiac (2007) One of the most frustrating (and still to be solved) real-life crime sprees is the subject of this compelling and moody film from David Fincher. Based on former San Francisco Chronicle political cartoonist Robert Graysmith's book, it sends both the police and the press off on a hunt for the psychopath who is attacking couples around the city. With Jake Gyllenhaal as Graysmith and Robert Downey Jr. (who seriously chafed against Fincher's multi-take shooting methods) as crime reporter Paul Avery, it digs into one particular angle on the killer, who taunted the authorities with his cipher-filled missives. The open-ended conclusion means that this could be a frustrating one for those who like their murder-mysteries wrapped up by the time the credits roll, but Fincher's telling of this particular chunk of the case is so darkly diverting that you're happy to be drawn in. Read the Empire review of Zodiac. 9) The Fallen Idol (1948) Is Carol Reed’s 1948 classic a murder mystery? Well, not exactly. Spoiler: no murder actually occurs in the opulent London embassy where most of the story unfolds, with the death in fact an unfortunate accident. But for Phillipe (Bobby Henrey), the lonely nine-year-old son of a diplomat, it must be a homicide, and he’s caught up in an emotional whirlwind, suspecting the butler whom he hero-worships (the “idol” of the title; there’s no Indiana Jones-style relic in play). As the tale wends its way to its elegant conclusion, the real mystery is how Reed managed to get such a terrific performance out of Henrey, a child actor who’s utterly convincing whether he’s talking to Phillipe’s pet snake McGregor or blinking back tears, as the experience divests him of his childhood innocence. Read the Empire review of The Fallen Idol. 8) Scream (1996) Yes, Wes Craven’s 1996 meta-slasher Scream is a horror film first and foremost, but there’s a reason it continues to gain new fans nearly three decades on from its release – and it isn’t just because Matthew Lillard is super cool. It’s also because it’s a really bloody good murder-mystery movie. A faceless killer with a modulated voice targets a girl grieving her mother and her horror-obsessed pals in small town America, and literally anyone could’ve done it? Now that’s a doozy of a set-up. And, as Craven makes an origami crane out of the genre rulebook he helped write, his film soars towards a genuinely shocking set of revelations that all hang exquisitely on the cusp of outright absurdity. The fact Scream’s five sequels have carved out a legacy for their whodunnits as much as for their meta commentaries and inspired casting speaks to how seriously the franchise takes its murder-mystery credentials. Read the Empire review of Scream. 7) Rebecca (1940) A masterful adaptation of Daphne Du Maurier’s same-named Gothic melodrama, Alfred Hitchcock’s Rebecca strips the murder-mystery to its most bare elements without losing any of the genre’s weight or power. Joan Fontaine is in stunning form as the forenameless Mrs. De Winter, who finds herself at the mercy of new husband Maxim’s (Laurence Olivier) dead wife when she takes up residence at his decadent mansion, Manderley. The core elements of a great murder-mystery – suspicion, suspense, and revelation – are all harnessed expertly by Hitchcock as Mrs. De Winter and Maxim’s relationship strains under the omnipresent eye of both Rebecca and her ever-loyal housekeeper Mrs. Danvers (a chilling Judith Anderson). But it’s not until the remarkable oner in Maxim’s boathouse that the whole thing finally comes together, reminding you why this is the film Hitch won Best Picture for. Read the Empire review of Rebecca. 6) Murder On The Orient Express (1974) Long before Kenneth Branagh (and his luxuriant 'tache) came a-calling, Sidney Lumet, working with writer Paul Dehn, brought Agatha Christie's train-based mystery to life. Albert Finney here plays a suitably slick-haired Hercule Poirot, though more understated and less ego-driven than Branagh's. The tone is much more lighthearted than the 2017 version's doomier drama, but like Branagh's, it is also loaded with a top-notch supporting cast ("the greatest cast of suspicious characters ever involved in murder," boasts the trailer) including Lauren Bacall, Ingrid Bergman, Jacqueline Bisset, Sean Connery, John Gielgud, Anthony Perkins, Vanessa Redgrave and Michael York. If Branagh brought more of a contemporary feel to his film, Lumet's offered a Poirot that wasn't seemingly clairvoyant, letting us enjoy the characters as the mystery slowly unravels. Read the Empire review of Murder On The Orient Express. 5) Knives Out (2019) Rian Johnson could’ve been forgiven for lowering the stakes a little with his follow-up to the incendiary, internet-breaking and discourse dominating Star Wars: Episode VIII – The Last Jedi. But no, far from toning things down, the filmmaker upped the ante and then some with all-star original murder mystery Knives Out, the film that introduced the world to the next great fictional detective, Benoit Blanc. And boy are we glad he did! Taking the Agatha Christie formula – big old house, sizeable ensemble of recognisable societal archetypes, and everybody gathered round for the big monologue and gasp-inducing reveal finale – and modernising it in every way for the generation we live in, Johnson changed the game for murder-mysteries, much as he did for Star Wars. Daniel Craig is absolutely exceptional as the Foghorn Leghorn-accented, Southern-drawling sleuther Benoit Blanc, Chris Evans plays delightfully against type as Ransom Drysdale, Ana de Armas’ star is born as the wonderfully layered Marta, and the whole beautifully-shot, wonderfully-scored endeavour plays like gangbusters as we learn what really happened to Christopher Plummer’s mystery novelist Harlan Thrombey. With Knives Out, Johnson gives us the doughnut and the hole all in one. Read Empire’s review of Knives Out. 4) The Conversation (1974) In the midst of making his Godfather movies, Francis Ford Coppola came out with this tense, paranoid thriller about a lone wolf eavesdropping expert called Harry Caul, played inimitably by Gene Hackman, whose work in bugging people leads him to get involved with the mysterious murder of an executive in a traffic collision. Weaving in themes of privacy, surveillance, personal responsibility and more, The Conversation feels as prescient and urgent now as it did then, as Harry figures out where to draw the line between doing his job and doing what’s right. Screen legends Harrison Ford and John Cazale star alongside Hackman – and the final scene, depicting Harry playing his saxophone amongst the wreckage of his home that he tore apart looking for the bug listening to him, the camera swinging around like it’s CCTV footage, is pure genius. Read Empire’s review of The Conversation. 3) The Last Of Sheila (1973) This sea-set suspenser co-penned by Stephen Sondheim and Anthony Perkins recently enjoyed a new lease of life after Rian Johnson cited it as a key influence for Glass Onion. You don’t need a magnifying glass to spot the similarities: like the Benoit Blanc-fronted sequel, the film is set amidst a glamorous reunion, with a group of moneyed suspects gathering on their movie producer friend’s yacht one year after the death of their friend Sheila, a gossip columnist, via a hit-and-run. Sondheim and Perkins were inspired to write the screenplay after concocting scavenger hunt mystery games for their New York friends that took them across the whole city. Their appetite for crafting head-scratching scenarios fuels this gleeful series of twists and turns, which culminates in a satisfying and genuinely surprising final act. Read the Empire review of The Last Of Sheila. 2) Se7en (1995) Shrugging off the controversy and disappointment of Alien 3, David Fincher rebounded in fine style with this pitch-black story of deadly sins-inspired torture and slayings. Brad Pitt's eager Detective Mills is paired with Morgan Freeman's grizzled, weary but wisdom-filled Detective Somerset as the victims begin to pile up. The mystery itself in Andrew Kevin Walker's impressive script is almost less important than the atmospheric feel of the case. But it doesn't skimp when it comes to the big final reveal of John Doe's identity. And smartly, the filmmakers left Kevin Spacey's name and image off the marketing and opening credits so as to make it more of a surprise, and defeat the old trope of the most famous name clearly being the killer. It all, of course, comes to a head in that shocking final scene. Read the Empire review of Se7en. 1) Rear Window (1954) A single location, a handful of perfectly drawn characters, and an acute awareness of our innate voyeuristic compulsion to look where we shouldn’t drive Alfred Hitchcock’s masterpiece, Rear Window. And when you break down the bones of what a murder-mystery is, what is it if not characters being consumed by the need for revelation,and searching for truth even within the maw of grave danger? Here, we find the genre’s driving force exemplified and defined perfectly. The sun beats down on a Greenwich Village apartment complex as beads of sweat form on the brow of James Stewart’s L.B. Jefferies, a wheelchair-bound photographer whose keen eye for action has turned him into the block’s peeping Tom. But while his keeping up with Miss Lonely-Hearts and Miss Torso may just be a bit of harmless fun, the late-night sighting of salesman Lars Thorwald (Raymond Burr) leaving his house with a heavy case and returning with one seemingly far lighter, his wife nowhere to be seen, is enough to arouse Jefferies’ suspicions and make him want to take a closer look. As he draws his doting girlfriend Lisa (Grace Kelly) and visiting nurse Stella (Thelma Ritter) into the yarn he’s begun to spin about Thorwald, the lines between seeing and believing become increasingly muddied and blurred. From his own two eyes, to a pair of binoculars, to a telephoto lens, to the sending of Lisa into the proverbial lion’s den, Hitchcock viscerally shows us how Jefferies’ need for answers outstrips his awareness of danger at every turn – he knows he shouldn’t look, but he just can’t help himself. And so he, and in turn we as willing accomplices watching on, search desperately for a murder, as we lose ourselves in the master of suspense’s greatest mystery. Rear Window is a rollicking ride from start to finish, a film that builds up an incredible amount of momentum from within the confines of a single space as Hitchcock deploys every weapon in his directorial arsenal. It’s not just the greatest murder-mystery of all time, it’s also one of the greatest films of all time.
6282	dbpedia	3	70	https://www.thewrap.com/anatomy-of-a-fall-ending-what-it-means-director-interview/	en	Why ‘Anatomy of a Fall’ Director Left Some Mystery in the Film’s Ending – and What It All Means	https://i0.wp.com/www.th…1200%2C675&ssl=1	https://i0.wp.com/www.th…1200%2C675&ssl=1	[ "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/10/Anatomy-of-a-Fall-Sandra-Huller.png?fit=990%2C557&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2020/11/joe-mcgovern-headshot.jpg?resize=150%2C150&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/11/F8cct8uagAAu0pK.jpg?resize=1024%2C523&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/10/RX3FQX0w.jpg?fit=300%2C169&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/10/Untitled-design-3.png?fit=300%2C169&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2020/11/joe-mcgovern-headshot.jpg?fit=58%2C58&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2024/08/EM_081424_COVER_IR_SP_SR_MS_SW-scaled.jpg?fit=250%2C300&ssl=1" ]	[ "https://www.youtube.com/embed/FUXawkH-ONM?start=53&feature=oembed" ]	[]	[ "" ]	null	[ "Joe McGovern" ]	2023-11-01T23:18:50+00:00	"Anatomy of a Fall," the new French mystery film, takes its title directly from 1959's "Anatomy of a Murder," and that's no coincidence.	en	https://i0.wp.com/www.th…it=32%2C32&ssl=1	TheWrap	https://www.thewrap.com/anatomy-of-a-fall-ending-what-it-means-director-interview/	Warning: This article discusses the ending of “Anatomy of a Fall.” “Anatomy of a Fall,” the new French mystery film, takes its title directly from “Anatomy of a Murder,” Otto Preminger’s 1959 courtroom drama starring Jimmy Stewart. Director Justine Triet saw the Preminger classic about a decade ago and kept the film in her mind as she was developing her own modern tale of intrigue, secrets, and marriage on trial. And similar to the 1959 movie, “Anatomy of a Fall” does come to a conclusion, in a way, at least in the courtroom. A verdict is delivered. The Palme d’Or winner at this year’s Cannes Film Festival, the film ends with the character of Sandra (Sandra Hüller) being acquitted for the murder of her husband. At the movie’s start, he dies off-screen after plunging from a balcony at the chalet where they live with their son Daniel (Milo Machado-Graner). But Sandra’s actual guilt or innocence remains an open question. There is no precise flashback to the moment of her husband’s death. She maintains that she did not kill him. But she’s also stretched the truth in an effort to appear innocent. Neon, the film’s distributor, is clearly keyed into the question, having launched a survey website called Did She Do It and advertising the film this way in Los Angeles (via X account JillianChili). In a recent conversation with TheWrap, Triet (who cowrote the film with her partner Arthur Harari) addressed the film’s conclusion. And also sought to assure readers that Messi, the movie’s star dog who appears as a border collie named Snoop, was totally fine despite a crucial late scene in which he’s ailing. TheWrap: I’ve been thinking and talking about the film a lot. My own theory is that Sandra is innocent, but her husband designed his suicide to implicate her. Justine Triet: Ah, really? You mean he left clues to put his wife in a bad situation? Yes. Well, it’s possible. Your movie is not a whodunit in the classic sense and I appreciate that we don’t get a solid answer about Sandra. But what were you thinking about when you mapped out the film’s ending? It took a lot of time to think about it. During the writing process, we had so many different ideas for the ending. At the beginning, we thought there should be a big twist at the very end. We thought and thought about that. And we did have some ideas of a plot twist. But let me tell you, it was not good. It didn’t work. Can you remember any of those other ideas? Yeah, I remember there was something where the son was talking about how he could recognize a place in the house because of the scratches on the wall. I can’t remember exactly, but there was a twist where he explicated some fact through touching a scratch. But it was old-fashioned. I think it would have been very deceptive for everyone. It didn’t feel right. There were many discussion between Arthur and I to get into that thing of how to end the film. With us saying, “OK, as spectators, we don’t like when there’s some twist that doesn’t feel right.” Ultimately, the son Daniel is still at the center of the question. It’s a question of this boy, who doesn’t know if his mother is a murderer or not. Can he believe her? Should he believe her? When we had that breakthrough, then we could say, “Our movie is this. This is the vision.” But it’s still complicated. There is a scene where Daniel deliberately poisons his dog with Aspirin, in order to find out if the dog might have ingested it during a previous suicide attempt by his dad. It’s very important in the film. But I wanted to ask about filming that. It was the most difficult scene in the movie, especially for the actor and the crew. The dog had been trained how to look a certain way so that he appeared to be sick. The dog’s vomit is all fake and we added it in post-production with CGI. The dog was really amazing. But despite the very good training, a dog will still react to heightened emotional states in humans. So how do we get the kid to act in the way we need without having the dog leap up to help the distressed child? So that is what the training was for. And the dog was actually not in pain? No, no, of course not. On set, at all times, there was a big team for the dog. Everyone was so careful with dog, all the time. He’s the mascot of our movie. And I love him. He’s a border collie and we chose him because of his energy. Also, the dog is included in the very final image in the film, which shows Sandra cuddling with Snoop in bed. What were you thinking about when you conceived that shot? At the end, she’s very lonely. She needs the dog. Her son and her, they hug each other, but there are things that they will have to deal with over a long period of time in the future. But with the dog, it’s not so complicated. He just loves her. I wanted that. We found this poetic ending, without making it too dramatic, where the dog would arrive and show this wonderful capacity to be just a dog. But then in some ways, the dog is also a spectre and also the eyes of Daniel. All these things. You’ve mentioned that you were fascinated by the Amanda Knox trial. And O.J. Simpson. I was obsessed with the idea of how someone manages their life after a verdict. A happy verdict for them, let’s say. An acquittal, in the case of the movie, for Sandra. On one hand, she should celebrate this but on the other hand, I don’t know. What is going on after the happy ending? In reality, that’s a question. This woman, she doesn’t want to go home. She doesn’t want to face her child because it is not finished. The child did save her, in a way, but how do they actually feel about each other? And the verdict is near the end of the film, but you still had a lot of choices to make about what to show in the final ten minutes. Oh, yeah. A lot. Finding the ending was all about finding the heart of the film. It was about finding what deep questions of the entire intrigue were there. When we found this ending, the question that emerged and re-emerged, from all the bits that had been parsed out, was the question of doubt. Doubt and indecision and what you do with incertitude. Now, that was not the question that drove the script all the time. Before, as I said, we had much more efficient and twist-based ideas and more classical, formal gestures. But finding, in the end, this place of doubt was the moment that we knew we’d found the ending. And it’s articulated in that scene between the kid and his auxiliary guardian. The question of choice, plain and simple. But nonetheless, you probably have had many people come up to you and they want to know if Sandra is guilty or innocent? Yeah, of course. It happens. What do you say? Well, what can I say? It’s the same thing as in life. Who knows the real truth? To me, I think maybe that Sandra could be not guilty of murder but responsible for pushing him to commit suicide. Maybe? It’s a question of: What are we all responsible for in our lives? The film is opening so many other doors. And in a way, I think, well, she lied two times in the movie. So maybe we can cast doubt on her and say, “Hmm, is it possible she did do it?” But I don’t want to say that. You don’t? No. I don’t want to spoil the movie.
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Soon he finds himself the target of two men who turn out to be the sons of the man's old partner, who is now in prison because of a conflict with him over the money in that account.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/the-mark-of-the-whistler/	“The Whistler” series came from the radio show that featured engaging mysteries with intriguing twists. The narrator was The Whistler, a mysterious man who lurked in the shadows and acted as the “Voice of Conscience.” It was a natural concept for the movies, and THE MARK OF THE WHISTLER is one of the best. The plot involves a small-time “drifter” who takes advantage of a bit of good luck that he seeks to illegally manipulate into at least $100 cash (which would be worth almost $1500 when this movie was made). As the scheme unfolds, so do the potential ill-gotten rewards. … But, there is a considerable cost. Many of these period mysteries were simply “fluff”… The second of eight Whistler films made by Columbia Pictures, The Mark of the Whistler sees William Castle back in the director’s chair and Richard Dix’s return, only as a different character this time. The second film in the franchise, Mark further establishes the franchise in Twilight Zone-style episodic, anthology storytelling. It also succeeds in building up a much more oppressive atmosphere than that found in The Whistler, adding to its film-noir street cred. This time around, Richard Dix plays Lee S. Nugent, a down-on-his-luck drifter who comes across a “dormant money” ad in the newspaper for someone else with the same first and last name. From the moment he starts to plot a way to take the money for himself, his… The second film in Columbia's The Whistler series once again features Richard Dix in a different role and we also have William Castle back as director. All of the style and atmosphere of the original film is on display here but this one even has a great story and some nice suspense. Dix plays a homeless man who pretends to be someone else so that he can get access to a dormant bank account. That's all of the plot that you need to know as Castle takes that and turns in one of the best directing jobs of his career. I was really surprised at how well the director handled the plot and he managed to build some real suspense… Cracking film noir thriller. A drifter poses as someone else to claim money in a dormant bank account. Second picture in ❝The Whistler❞ series starring Richard Dix. First half is devoted to the intricacies of the lie. All the background research, etc. And the nail-biting execution of the plan. Despite his crime, we like the guy and understand his motives; his desperation. The Whistler is a great device; the narration takes us inside the mind of the protagonist in a unique and effective way. Second half is where all the complications arise. Now wealthy and famous, our protagonist is suddenly being chased by mysterious men. Who are they? Crooks? Cops? Are they after him? Or after the man he pretended…
6282	dbpedia	0	72	https://www.onesmedia.com/film-noir-c-26_226/the-whistler-the-films-collection-p-1483.html	en	$20.00 : ONES MEDIA, Old Time Radio and Digital Media Center	http://onesmedia.com/OMI/otr/WHISTLER/WHISTLER-4-DVD-Cover-BS.jpg		[ "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/logo.png", "https://www.onesmedia.com/film-noir-c-26_226/images/slide1.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/slide2.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/slide3.jpg", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/home-top.png", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/home1.jpg", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/home2.jpg", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/home3.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/1947.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/1946.jpg", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/box_write_review.gif", "https://www.onesmedia.com/film-noir-c-26_226/images/categories/moviebanner.png", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/WhistlerRedCase-FS.jpg", "http://onesmedia.com/OMI/otr/WHISTLER/Voice_of_the_whistler_poster.jpg", "http://onesmedia.com/OMI/otr/WHISTLER/WHISTLER-4-DVD-Cover-BS.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/MYSTERY.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/MSLooydNolan.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/MOVIELOGO.png", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/FalconCase-FLa.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/JJ10DVD-FL.jpg", "https://www.onesmedia.com/film-noir-c-26_226/images/OTR/BD-V1-FL.jpg", "https://www.onesmedia.com/film-noir-c-26_226/includes/templates/fashion01/images/logo.png" ]	[]	[]	[ "THE WHISTLER - THE FILMS COLLECTION [MOV-4DVD-Whistler] Jean Shepherd Old Time Radio mp3 CD Films Audio Books Old Time Radio Audio CD Old Time Radio mp3 DVD International Mail Service Box Sets FREE STUFF Custom-Made Products SALES Old Time Radio", "Jean Shepherd", "Audio Books" ]	null	[ "The Zen Cart® Team" ]	null	ONES MEDIA THE WHISTLER - THE FILMS COLLECTION [MOV-4DVD-Whistler] - THE FILMS COLLECTION - 4 DVD-R - 8 MOVIES The Whistler was adapted into a film noir series of eight films by Columbia Pictures. The "Voice of the Whistler" was provided by an uncredited Otto Forrest. In the first seven films, veteran actor Richard Dix played the main character in the story -- a different character in each film. In the eighth film, made after Dix's retirement, Michael Duane played the main character. The Whistler (1944) (Directed by William Castle) The Mark of the Whistler (1944) (Directed by William Castle and based on Cornell Woolrich's story, "Dormant Account") The Power of the Whistler (1945) Voice	en			https://www.onesmedia.com/film-noir-c-26_226/the-whistler-the-films-collection-p-1483.html	THE FILMS COLLECTION - 4 DVD-R - 8 MOVIES The Whistler was adapted into a film noir series of eight films by Columbia Pictures. The "Voice of the Whistler" was provided by an uncredited Otto Forrest. In the first seven films, veteran actor Richard Dix played the main character in the story -- a different character in each film. In the eighth film, made after Dix's retirement, Michael Duane played the main character. The Whistler (1944) (Directed by William Castle) The Mark of the Whistler (1944) (Directed by William Castle and based on Cornell Woolrich's story, "Dormant Account") The Power of the Whistler (1945) Voice of the Whistler (1945) (Directed by William Castle) Mysterious Intruder (1946) (Directed by William Castle) The Secret of the Whistler (1946) The Thirteenth Hour (1947) The Return of the Whistler (1948 THE WHISTLER MYSTERY SERIES - Starring Richard Dix DVD 1 THE WHISTLER The first in an 8 movie series based on the popular radio series. Tense, suspenseful drama directed by William Castle and starring Richard Dix. MARK OF THE WHISTLER The Whistler, the unseen mystery-story narrator of radio fame, relates another tale that he's gleaned from "walking by night" in Mark of the Whistler. Richard Dix stars as a drifter who poses as the owner of an unclaimed bank account. Dix's new identity brings him nothing but misery as he falls victim to the actual claimant's startling secrets, lost loves and dangerous enemies--including one bent on killing for revenge. The second of Columbia's Whistler series, Mark of the Whistler was an enormous improvement on the first film, with a healthy number of unexpected plot twists within its 60-minute time frame. Mark of the Whistler was based on a story by Cornell Woolrich and directed by future horror specialist William Castle DVD 2 THE POWER OF THE WHISTLER Power of the Whistler once more stars Richard Dix as the tortured protagonist. This time, Dix is cast as an amnesiac named William Everett, who is given aid and comfort by pretty Jean Lang (Janis Carter). Assuming that Everett has been victimized by someone, Jean tries to help him regain his memory. This proves to be a major mistake, which Jean's sister Frances (Jeff Donnell) discovers to her horror. Though it was fascinating to see Richard Dix in an off-the-beaten-track role, Power of the Whistler isn't up to the standard set by the first two "Whistler" films: even so, the climax, staged in the loft of a deserted barn, is a beauty. VOICE OF THE WHISTLER A millionaire only has six months to live so he marries his nurse who does not love him. He promises to make her sole heir to his estate. After marrying her they move to a lighthouse where she finds herself filling in love after he makes a miraculous recovery. Things go fine till the man the woman jilted to marry the millionaire tries to kill the man. DISC 3 MYSTERIOUS INTRUDER Mysterious Intruder was the fifth entry in Columbia's B-picture series based on the radio anthology "The Whistler". Richard Dix, the leading man in all but one of the "Whistler" films, stars as duplicitous private eye Don Gale. Motivating the storyline are a pair of priceless Jenny Lind wax recordings, which are coveted by a Swedish millionaire. Someone is willing to kill to get his or her hands on the records, prompting Gale and the cops to conduct a citywide search for the killer. The film's resolution is surprising only to those who hadn't seen the previous "Whistler" films, but it still works. SECRET OF THE WHISTLER The Whistler, mysterious narrator of the radio series of the same name, "knows many things" for he "walks by night." This time the unseen whistler knows all about mentally disturbed artist Richard Dix, whose first wife died under mysterious circumstances. Wife Number Two (Leslie Brooks) begins to suspect that Dix's earlier spouse may have been murdered, and that the artist was the killer. In a tense finale, the second wife uses psychological warfare to turn the tables on the homicidal Dix. DISC 4 THE 13TH HOUR Dix, the trucking company owner, is pitted against time to discover who murdered a police officer rival of his. He must do so to clear his own name, as the murder was pinned on him. THE RETURN OF THE WHISTLER This time around, hero Ted Nichols (Michael Duane) tries to ascertain the whereabouts of his wealthy fiancee Alice Barclay (Lenore Aubert). Finally locating the girl in a mental institution, Nichols discovers that she's been placed there at the behest of a man named John (James Cardwell), who claims to be her husband. Private eye Gaylord Travers (Richard Lane) suspects there's more to this than meets the eye-especially when all records pertaining to Alice's previous existence mysteriously vanish. Return of the Whistler was scripted by Cornell Woolrich, who was doing this sort of Alfred Hitchcock stuff long before he ever worked with Hitchcock himself. THESE ARE REGULAR DVD DELIVERED IN A BOX SET WITH ART WORK CLICK HERE TO LEARN MORE ABOUT OUR PRODUCTS We guarantee delivery of your item. If your item doesn't get there or is damaged, please notify us and we'll reship for you.
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"https://media.timeout.com/images/106132434/750/562/image.jpg", "https://media.timeout.com/images/106108030/750/422/image.jpg", "https://media.timeout.com/images/106108030/750/562/image.jpg", "https://media.timeout.com/images/106086598/750/422/image.jpg", "https://media.timeout.com/images/106086598/750/562/image.jpg" ]	[]	[]	[ "" ]	null	[ "Matthew Singer", "Joshua Rothkopf", "Phil de Semlyen" ]	2024-06-23T23:00:00+00:00	From Fincher’s Seven to Hitchcock’s The 39 Steps, take a journey to Hollywood’s dark, suspenseful side with our countdown of the 100 greatest thrillers	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/film/best-thriller-movies	If there’s a thriller out there more exhilarating, sexier or packed with iconic moments than this one, we’ve yet to see it. The greatest joy in Alfred Hitchcock’s spy caper is how effortless it all feels: a gliding magic-carpet ride from New York to Mount Rushmore, via Chicago and a Midwestern bus stop, as Cary Grant’s ad man suffers a potentially fatal outbreak of Wrong Man-itis. Of course, making a movie this effortless is hard work. It’s all a tribute to Hitch and his ensemble of behind-the-camera talents, including screenwriter Ernest Lehman, Saul Bass (designer of the iconic title sequence) and Bernard Herrmann, whose score lends menace and levity in equal measure. And the cast? Eva Marie Saint, James Mason, Martin Landau and Jessie Royce Landis – heroes, villains and worried mothers, they’re all having a ball. But it’s Grant’s movie: a Hollywood A-lister happy to be the punchline when the scene calls for it. The killer moment: It has to be the crop-duster sequence, which begins like a Western standoff and ends with the suavest man in cinema face down in the dirt. Phil de Semlyen Global film editor Several real-life child murderers, cannibals and serial killers – their nicknames are grisly enough: the Butcher of Hanover, the Vampire of Düsseldorf – terrorised Germany in the 1920s. Berlin's most moneyed and celebrated director, Fritz Lang, was drawn to the subject, which would become the spine of his first sound film, in many ways the commercial birth of the modern psychothriller. M is cinema's darkest landmark: a portrait of awful appetites that was revolutionary for also being an oblique mirror on society at large. (Filmed under the working title Murderer Among Us, Nazi party members refused Lang studio space.) The movie is immortal for Peter Lorre's career-defining performance as Hans Beckert, trapped by sweaty urges and a dragnet of cops and mobsters. Lang also turned Edvard Grieg's ‘In the Hall of the Mountain King’ – whistled by Beckert, but not Lorre, who couldn't whistle – into an instant signature of aural menace. The killer moment: In front of a wanted poster, a dark silhouette appears. Leaning down, Beckert lures a child into conversation: ‘What a pretty ball you have there.’ Advertising The absolute zenith of New Hollywood's 1970s-era adventurousness (it was all downhill from here), Roman Polanski's majestic conspiracy thriller is the ultimate L.A. movie, locating seediness under the sun – even in the water. Robert Towne's well-researched screenplay about land grabs, murder and one ‘nosy fellow’ remains the gold standard for aspiring writers hoping to grab a whiff of sociocultural currency; watching Chinatown is, for some Angelenos, like learning that you live in a stolen paradise, or hell itself. But for all the movie's substance, it took a rascally Jack Nicholson, an absorbingly skittish Faye Dunaway, a fearsome John Huston and Polanski himself (working at the peak of his powers) to sock it over on audiences. The movie shimmers like a '30s period romance but its veins pump black bile: a toxic masterpiece. The killer moment: A withering Noah Cross makes his sole priority clear to our hero: ‘The future, Mr. Gittes! The future!’ Set in a post-World War II Vienna filled with canted angles and stark shadows, The Third Man is expressionist perfection. Orson Welles’ performance as Harry Lime – thought to be dead by his childhood friend, Holly (Joseph Cotten), a down-and-out novelist, only to make a dramatic return – is one of cinema’s best. Welles swaggers through the film with cool self-assurance and delivers many an iconic line in his famous baritone. Faking one’s death is, of course, a risky proposition, and it’s challenging to present it believably. Director Carol Reed invests us totally in Lime’s fate, thrilling us with every plot twist. After watching this utterly engaging film, you’ll never look at tunnels or Ferris wheels (or hear zither music) the same way again. The killer moment: After riding the wheel, Welles makes his famous quip (ad-libbed on the day), comparing violent Italy under the Borgias with peace-loving Switzerland. ‘And what did that produce? The cuckoo clock.’ Advertising Nothing about Quentin Tarantino’s breakthrough was exactly new: the suits were pure Rat Pack, the dialogue was Scorsese intensified and even the plot was lifted from a Hong Kong crime flick called City on Fire. But like household ingredients blended to make a bomb, the result was incendiary. Reservoir Dogs changed cinema, and we’re still dealing with the aftershocks (see the smooth criminals of Baby Driver or the entire career of Three Billboards director Martin McDonagh for evidence). But even if none of that were true, it’s still such a joyful film to experience and re-experience: every line crackles like electricity, every performance is punchy perfection and every shot feels like a bracing bucket of water in the face. Tarantino hasn’t come close to it since – but neither has anyone else. The killer moment: Too many to mention, but the off-camera ear-slicing scene set to the peppy ‘Stuck in the Middle with You’ will go down in history. Tom Huddleston Arts and culture journalist Famously, Orson Welles’s involvement in this magnificently sleazy borderlands crime flick was meant to be strictly in front of the camera: he was hired to play Hank Quinlan, the grotesque corrupt sheriff, and nothing more. It was star Charlton Heston who lobbied for Welles to be handed the directorial reins, and who backed him – at least initially – against interference by the studio, Universal. The result was an impossibly rich Welles movie that could be held up to Citizen Kane: a brutal, explicitly sexual crime story; a satire on race and prejudice; a sad-eyed lament for wild pre-conformist America; and one of the most gorgeously directed films of all time – even the dialogue scenes play like ballet. Not that Universal noticed. They eventually recut the film against Welles’s wishes. It’s only in the past two decades that we’ve been able to appreciate this masterpiece nearly as its creator intended. The killer moment: The legendary opening tracking shot – an uninterrupted three-and-a-half-minutes following a bomb’s delivery in a car trunk – is the obvious choice (and the correct one). Tom Huddleston Arts and culture journalist Advertising Set in a troubled America that hides an undercurrent of violence under its skin, Jonathan Demme’s taut serial-killer procedural borders on Grand Guignol horror. Unconventionally finding its saviour in the shoes of a female law enforcer – FBI trainee Clarice Starling (Jodie Foster, blending strength and vulnerability) – The Silence of the Lambs divides its terrors between grotesque moths, a blood-curdling butcher of women and the cannibalistic Dr. Hannibal Lecter (Anthony Hopkins), a nightmarishly manipulative collaborator with a taste for liver and fava beans. Featuring exceptional cross-cutting leading up to its grand finale (a twisty reveal sends shivers down your spine), Lambs is one of the greatest movies of the ’90s, and the rare thriller to be recognised at the Oscars in a major way. The killer moment: Using night vision, Buffalo Bill pursues Clarice in the dark. In the seconds that follow, no one dares to breathe. Robert Towne once raved that ‘all contemporary escapist entertainment begins with The 39 Steps’ – and as the man who wrote Chinatown, he’d definitely know what he’s talking about. The magic in this endlessly re-enjoyable Hitchcock effort, an early blueprint for Hitch classics to come, comes via its fine balance between the looming menace and frothy sense of fun. The Master knew how to make his stars’ chemistry work to counterbalance the deathly predicaments he placed them in, and he rarely found a more perfect squabbling-flirting double act than Robert Donat and Madeleine Carroll. The killer moment: When the respectable Professor Jordan shows Hannay that part of his finger is missing, revealing that he’s an enemy agent and that Hannay is properly up the loch without a paddle. Phil de Semlyen Global film editor Advertising John Huston’s magnificent adaption of Dashiell Hammett’s noir has so much going for it, it’s hard to know which parts to praise first: The plotting is drum-tight; the villains are indelibly slippery (especially Sydney Greenstreet’s ‘Fat Man’ and Peter Lorre’s Joel Cairo); Mary Astor’s femme fatale is a sexy, amoral joy; and the titular MacGuffin, a black statuette, is so iconic, the prop itself fetched $4 million at auction. (That’s a lot for a 12-inch bird that was once dropped on Humphrey Bogart’s foot during shooting.) How about the hero, then? Sam Spade is everything you want from a noir gumshoe: whip-smart, hard-bitten, cocky and unfazed by that pea-shooter you’ve got pointed at him. It’s not even that he’s a particularly good guy, it’s that everyone else around him is so much worse. Bogie’s Spade was the embodiment of a new kind of Hollywood protagonist to emerge during the war years: a man who can slip from heroism to obnoxiousness and back again, all during the same slug of whisky. The killer moment: ‘What is it?’ a detective asks of the falcon. Spade answers, immortally: ‘The stuff that dreams are made of.’ Phil de Semlyen Global film editor A creepy boarding school, a monstrous headmaster, his quietly fed-up wife, another disgruntled lover – thrillers rarely come better stocked for suspense. France’s own Alfred Hitchcock, Henri-Georges Clouzot, subversively teams up the timid spouse (Véra Clouzot, the director's wife, playing a plain Jane in braids) with the hedonistic mistress (Simone Signoret, sporting a contrastingly provocative look) for a vengeful murder scheme against their common enemy. Clouzot uses every device at his disposal: eerie corridors, grimy swimming pools, ear-splitting kids. The result is a truly scary thriller that influenced Psycho. Clouzot’s fiendish nail-biter climaxes with such a domino chain of reversals, it even had a title card at the end asking the audience to not spoil the film for others. Don’t expect to know who’s deceiving whom until the last frame. The killer moment: Unforgettably, the headmaster’s white-eyed corpse rises up above the surface of a bath – but not as the ladies planned. Advertising Film noir doesn’t get more iconic than Billy Wilder’s tale of an insurance salesman (Fred MacMurray) roped into a devious scheme by a femme fatale (Barbara Stanwyck) intent on murdering her husband. To watch the film, with its shadows and Stanwyck’s swaggering seduction, is to lose oneself in a gritty and mysterious world that has influenced countless movies since. The killer moment: In a brightly lit Los Angeles supermarket aisle that’s suddenly ominous, Stanwyck purrs, ‘It’s straight down the line for both of us,’ setting the template for women up to no good. Scraping up against the limits of knowability, David Fincher's mind-blowing crime thriller targets the truth itself as a serial killer's final victim. Zodiac is the definitive movie of its troubled decade, showing us good men thwarted by the elusive spirit of a murderous ghost. The real-life exploits of California’s Zodiac Killer haunted Fincher as a child; his film is an expression of obsession, onscreen and off. The killer moment: We're seated in a break room with a creep who's full of unsettling excuses (the ominous John Carroll Lynch). His watch has the killer's target symbol on it, but that's not enough for these cops to pounce. ‘I am not the Zodiac,’ he says. ‘And if I were, I certainly wouldn’t tell you.’ Advertising Film noir's most unsettling nightmare ends in a flaming nuclear disaster – and if that anxiety weren't enough, there's also off-screen torture, ferocious desk-clerk slapping and the casual destruction of a beloved opera record. Robert Aldrich's perverse masterpiece brings Mickey Spillane's vicious Mike Hammer (a grinning Ralph Meeker) to life: a vain bottom feeder prone to using his fists. He's the sourest of antiheroes. Los Angeles has made him that way. The killer moment: ‘I want half,’ Lily Carver demands, wielding a gun. Soon enough, she's hovering over the most influential suitcase in movies (see also Pulp Fiction and Repo Man), one she can't help but open. When people say ‘they don’t make ‘em like they used to’, they’re mainly talking about The Fugitive, a blockbuster murder-mystery set on a big canvas that boasts sophisticated character work, complex motivations and action-movie thrills. Headlining it all, of course, is Harrison Ford as Dr Richard Kimble, who is framed for the murder of his own wife, only to escape while in transit to prison. Ford brings a stewing rage to this ’80s reprise of the Wrong Man archetype, while a perfectly cast and Oscar-winning Tommy Lee Jones plays the unblinking, relentless cop on his trail – and delivers that much-imitated ‘hen house’ monologue). Nowadays, its more outlandish turns would be delivered with a knowing wink (and Kimble’s protests that ‘a one-armed man’ killed his wife would launch a thousand memes), but it works so well because of its sincerity. It’s Hitchcock with a straight face. The killer moment: Gerard finally has Kimble cornered, where his choices are to either surrender or take his chances plunging into the raging water flowing off a massive dam. If you don’t know what happens next, you didn’t grow up in the ’90s. Phil de Semlyen Global film editor Advertising Often regarded as cinema’s greatest achievement, Vertigo presents the peak of Hitchcock’s psychosexual fixations in gloriously shot Technicolor. Playing Judy Barton – or is it Madeleine Elster? – Kim Novak personifies twisty femininity. Jimmy Stewart’s ‘Scottie’ Ferguson, an ex-detective increasingly consumed by her, is a perfect subversion of the actor’s wholesome image. The killer moment: Writhing in his sheets, Scottie plunges into a wordless, psychedelic nightmare: an unforgettable jolt of creepy graveyard shots, wild colours, Bernard Herrmann’s seesawing score and Stewart’s disembodied head. David Lynch’s uncrackable masterpiece meets at the intersection of Hollywood dreams and dream logic. In Lynch’s crazy-quilt Tinsel Town, anything can be lurking around the corner, be it a grime-caked urban ghoul, mysterious puppetmasters in cowboy hats, splintered realities, hapless gangsters or a cuckolding Billy Ray Cyrus. Mulholland Drive’s legacy will always be its lucidity, but in all the conversations about what the hell it means, people tend to lose track of the fact that it thrills from beginning to end: it’s a puzzle box with no answers that still functions as a masterful noir, a compelling mystery and an ethereal horror yarn. The killer moment: Winkie’s Diner hides the film’s most jarring moment, but the Club Silencio sequence is an uncut bump of pure Lynch so deliriously callibrated you can practically feel the director yanking at the rug beneath your feet. Advertising An agitated sociopath gains access to a firearm and decides to make America great again. Sound familiar? Nearly 50 years later, Martin Scorsese’s masterful portrait of alienation and male delusion still manages to shock and disturb – in fact, it’s probably more shocking and disturbing now than it was then. It’s certainly just as relevant: you could be sure that if Robert De Niro’s Vietnam vet-turned-vigilante antihero Travis Bickle existed today, he would definitely have turned up inside the Capitol Building on January 6. The killer moment: while preparing for a rampage, Bickle confronts his own reflection in a mirror and asks the immortal question: ‘You talkin’ to me?’ Matthew Singer Film writer and editor Here's the pivot point for David Fincher – the inflection at which he transitioned from being a maker of super-stylish Madonna videos into something more substantial. Seven certainly delivers a signature gloom, from those powerhouse opening credits to its rainy urban hellscape. But beyond the gloss, the movie feels as subversive as a Fritz Lang thriller, indicting the police as thoroughly as it does its moralising serial killer. Andrew Kevin Walker's script contrasts theoretical bookishness with impulsive action, but Fincher's genius is to show those modes for what they really are: survival strategies that only get you so far. The killer moment: The sloth victim traumatised us, but the movie's small piece of immortality happens in the desert, where the tables are turned: ‘What's in the box?’ Advertising Fear of Soviet domination may have engulfed America in the early 1950s but in Hollywood, things weren’t so simple. In the wake of the Joseph McCarthy hearings, filmmakers knew they had just as much to fear from their own government as they did from some shady foreign power. The Manchurian Candidate is the clearest expression of that anxiety, a razor-sharp study in manipulation filmed in stark monochrome, a paradox for a movie in which nothing is black and white. The killer moment: Suddenly we realise that lovely Angela Lansbury isn’t just playing a domineering mom, but a ruthless monster. Tom Huddleston Arts and culture journalist Staple anxieties of classic ’50s noir often get rebooted for contemporary audiences. But Curtis Hanson’s genre homage dared something even grander by going back to the source and recreating the bloody era itself, in an immaculately shot saga of knee-deep Tinseltown corruption. It’s a deceptive labyrinth of self-serving cops, movie-star wannabes and one priceless Lana Turner cameo; Hanson does the films that came before him proud. The killer moment: Guy Pearce’s straight-laced sergeant earns his nickname, Shotgun Ed, at a cost while pursuing a murder suspect. Advertising Released between the twin giants of The Godfather and The Godfather: Part II, Francis Ford Coppola’s relatively small and quiet character study remains largely overlooked, but it is a highlight not just of Coppola’s career, but the entire era. That’s due in large part to Gene Hackman’s emotionally walled-off yet deeply compelling lead performance as Harry Caul, a private surveillance expert who knows better than anyone that the concept of privacy in the modern world is illusory. Plagued by guilt over his chosen profession, he’s driven to paranoid self-destruction after capturing what he believes to be a murder confession on tape. While it scanned as a Watergate allegory at the time, it’s just as relevant in the modern era of doorbell cameras, smart devices and targeted advertising. The killer moment: After tearing his apartment apart in search of a bug, Caul sits alone in the wreckage, playing a mournful saxophone. Matthew Singer Film writer and editor Stanley Kubrick’s racetrack heist movie helped inspire a swathe of crime flicks – not least Reservoir Dogs – and it still stands up as a sharp-edged morality tale elevated by unorthodox structure, amoral characters and a third act that twists like a drunk blackjack player. Sterling Hayden, ever the embodiment of the stand-up guy gone to seed, is the meticulous robber who has thought of everything, except for the one variable that’s going to bring the whole scheme crashing down. Killer moment: What’s that tiny dog doing on the tarmac? An accident results in the most expensive baggage-check fee ever levied. Phil de Semlyen Global film editor Advertising Film noir comes to France (the country that first invented the term for a specific kind of Hollywood thriller), as blacklisted American director Jules Dassin turns out a flawless Paris-shot thriller on a budget of about ten centimes. Rififi laid out the ground rules for the heist movie: a mismatched gang, an intricate plan, a grindingly tense break-in and, of course, a disastrous final act in which it all falls apart. The killer moment: It’s the single best heist sequence in movie history – so convincing, it actually inspired a series of copycat crimes. Tom Huddleston Arts and culture journalist This Raymond Chandler adaptation may be best known for being almost impossible to follow, but that doesn’t make it any less potent. Humphrey Bogart and Lauren Bacall bring their legendary charisma to a convoluted tale of criminality filled with noir intrigue. Co-written by William Faulkner and featuring much pervy evasion of contemporary production codes, Howard Hawks’s classic is truly the kind of thriller they don’t make anymore. The killer moment: A sexually charged bookstore encounter between Bogart and a bespectacled clerk (the unforgettable Dorothy Malone) is just as invigorating as any of the wider mysteries presented elsewhere. Advertising Calling Blue Velvet a thriller is like calling the Mona Lisa a portrait: It’s 100 percent true but hardly the whole story. Fueled by coffee, hamburgers and transcendental meditation, David Lynch crafted one of the 1980’s true masterpieces, a haunted cruise into a netherworld of desperate damsels, corrupt cops, underworld crooners and well-dressed fuckin’ men. Impossible to describe, harder still to fully comprehend, it’s more nightmare than film. The killer moment: Dean Stockwell leans into the light and brings the Roy Orbison-scored menace: ‘A candy-colored clown they call the sandman tiptoes to my room every night…’ Tom Huddleston Arts and culture journalist Alfred Hitchcock’s housebound thriller took on fresh relatability at the height of the pandemic: after all, few of us had anything better to do than stare out the window and get a little too invested in the lives of our neighbours. James Stewart is a New York photojournalist laid up in his Greenwich Village apartment with a leg injury. As he spends his days peering across the courtyard, he becomes convinced one of his fellow residents has committed a horrific crime, and enlists his girlfriend, Grace Kelly, to help investigate. Big mistake. Hitchcock had staged claustrophobic mysteries before – see 1948’s Rope – but pound for pound, this might be his greatest achievement as cinema’s ‘master of suspense’: a movie that manages to induce stomach-knotting levels of tension while staying in essentially one place. You’ll recognise the feeling. The killer moment: Grace Kelly gets caught snooping around the suspected killer’s apartment – and all James Stewart can do is watch. Matthew Singer Film writer and editor Advertising Sidney Lumet’s NYC crime thriller was revolutionary in its day for its matter-of-fact representation of marriage equality and a supportive stance on trans rights. It follows the true account of an attempted bank robbery on a red-hot summer day. With uncompromising tension and flashes of humour, it also examines the ever-exploitative American media that loves a good circus. The killer moment: ‘Attica! Attica!’ In the infamous scene, Al Pacino leads a riot outside of the bank, delivering one of his fiercest onscreen outbursts. Many thrillers are beloved; some have become classics. But only one can claim to have kicked off a five-decade-and-counting spy franchise grossing billions of dollars worldwide. Ground Zero for the James Bond phenomenon, Dr No explodes out of the chamber with casual Rat Pack insouciance, brutal action and Ursula Andress in a bikini. Sean Connery holds it all together with scowling attitude; his future installments would perfect the formula but there’s simply no devaluing the first outing, a culture-changing effort. The killer moment: So hard to pick. Is it our first sight of those gun-barrel opening credits? The first use of the twangy guitar theme? We like Connery’s lazy line delivery at the baccarat table: ‘Bond, James Bond.’ Advertising The premise itself is a thrill: A jaded photographer (David Hemmings) may have captured a murder in the background. Michelangelo Antonioni’s reality-altering ‘Swinging London’ yarn is a scrupulously composed slow-burn of eye-popping mod fashions, mischievous nudity and a smashing Yardbirds cameo. Bonus: The art-house sensation helped instigate an era of serious stateside moviemaking with European sensibilities, prompting today’s ratings system. The killer moment: Come for the murder, stay for the greatest mime scene in film history: a tennis game with an imaginary ball. It’s one of the most perfect plot concepts in action cinema: Four desperate men are hired to drive a pair trucks of highly explosive nitroglycerin across the Amazon rainforest to the site of a raging oil fire. If they make it, they get big money. If they don’t, they’re dust. Henri-Georges Clouzot’s bruising masterpiece takes its time – there’s an awful lot of grim, sweaty negotiation before the trucks start rolling. But as the jungle closes in around them, the clammy hand of fear exerts its grip. The killer moment: In the blink of an eye, half the cast is wiped out. The rest press on regardless. Tom Huddleston Arts and culture journalist Advertising Moving with the ominous velocity of a freight train, Park Chan-wook’s Oldboy stands as an epochal contribution to the genre. A tragedy fuelled by adrenaline – like Shakespeare on steroids – it follows stoic salaryman Oh Dae-su, played by the brilliant Choi Min-sik, as he seeks to uncover the reasons (and people) behind the inexplicable 15-year imprisonment he’s just suffered. Cue a wreaking of terrible vengeance on those that stole his life. Bloody hammers, thug-filled hallways and at least one wriggling octopus spearhead a revenge tale with a body count that goes up … and up. The film’s ending lands like a punch in the solar plexus. Killer moment: Clutching only a hammer, Dae-su’s brutal beatdown of a horde of thugs in an equally beaten-up hallway is a high-water mark for both movie fight scenes and DIY equipment. Yes, it’s harder to watch in the wake of recent news regarding both director Bryan Singer and leading man Kevin Spacey, but let’s focus on the film itself. Taking its title from a Casablanca quote, The Usual Suspects blends old-school Hollywood style with a modern playfulness and unpredictability, weaving a web of crime, coincidence and flat-out lies. The cast is phenomenal, from mumbling Benicio del Toro to smooth Gabriel Byrne, spiky Kevin Pollak to ominous Pete Postlethwaite. The killer moment: ‘Man, you’re a slob,’ one detective tells another, looking over the detritus of a junky office. The shoe is just about to drop. Tom Huddleston Arts and culture journalist Advertising On top of a list of brilliantly twisted European thrillers that got really bad Hollywood remakes (Diabolique, Open Your Eyes, etc.), you’d find George Sluizer’s tar-black study of obsession and evil most ordinary. It follows Dutchman Rex (Gene Bervoets) as he tries to uncover the fate of his girlfriend, Saskia (Johanna ter Steege), who disappeared from a rest-stop service station years earlier. The ending is a jaw-dropper. The killer moment: A psychopath practices his abduction techniques, even going so far as to chloroform an imaginary victim in his passenger seat. Phil de Semlyen Global film editor Alfred Hitchcock plays twisted games with the very concept of decency, as Ingrid Bergman’s desperate daughter of a Nazi scientist is prostituted to the enemy by Cary Grant’s smooth, unflappable government agent – and ends up falling for him anyway. Set in Rio right after the war, ‘Notorious’ is all glamour on the surface, as Bergman and Grant swan through a selection of spectacular aristocratic mansions. But the undertones are grotesque and still challenging: a story of sexual exploitation, murder, manipulation and state-sanctioned cruelty. The killer moment: People don’t think of ol’ Hitch as a purveyor of erotic work, but this could be the single greatest screen kiss of all time: lusty, lingering, loaded with the unspoken. Tom Huddleston Arts and culture journalist Advertising British acting legend Charles Laughton’s sole film as a director is part grim fairy tale, part adventure and part serial-killer thriller, long before that last term was even invented. Working with cinematographer Stanley Cortez, who shot The Magnificent Ambersons for Orson Welles, Laughton crafted a story of fear and flight steeped in Southern Gothic and Bible allegory, as Robert Mitchum’s murderous preacher – a killer of women (‘Perfume-smellin' things, lacy things, things with curly hair’)–attempts to hunt down two children who hold the secret to a hidden treasure. The killer moment: Mitchum’s reverend tells us about the story of ‘right hand, left hand, good and evil.’ The monologue was so good, Spike Lee used it for Do the Right Thing. Tom Huddleston Arts and culture journalist A genius orchestrator of meandering conversations, Robert Altman left behind a string of classics, from Nashville and 3 Women to The Player and Gosford Park. But can this shaggy-dog private-eye movie – a delicious perversion of Raymond Chandler’s 1953 novel – be Altman’s most lasting achievement? You can see its influence in everything from The Big Lebowski to Inherent Vice, and any L.A. thriller that wends its way into a haze of pot-scented trouble. Elliott Gould’s scuzzy Philip Marlowe, buying cat food in the middle of the night in between solving crimes, is an iconic ’70s creation. The killer moment: Neurotic gangster Marty Augustine (played by future On Golden Pond director Mark Rydell) brings his beautiful mistress into the room to make a savage point to Marlowe with the help of a Coke bottle: ‘Now that's someone I love! You, I don't even like.’ Advertising The simplest of thriller conceits – cops and robbers as two sides of the same coin – is elevated to a showstopping new level in Michael Mann’s loose remake of his own TV pilot, LA Takedown. Helmed by masterful, winningly showy, performances by Al Pacino and Robert De Niro, Mann’s crime epic combines philosophical rumination with OTT machismo (think Pacino’s ‘great ass’ moment) to paint a compelling but bleak picture of life outside the law. This winning combination slings us through each intricate, explosive set-piece to create a crime opus that’s still revered nearly three decades on. Killing moment: It can only be the quiet, yet loaded diner confrontation between Pacino and De Niro. In contrast to the rest of the movie – a violent game of cat and mouse – this is two lone wolves – and two Corleones – marking their territory over coffee. Director John Boorman, had only made one feature – a breezy vehicle for the Dave Clark Five. Actor Lee Marvin, meanwhile, had just won an Oscar for Cat Ballou. The latter believed in the former’s talent, using his star power to support Boorman’s vision: a radical departure for the double-cross thriller in both form and content. Along with Bonnie and Clyde (released only two weeks earlier), Point Blank signals the moment at which Hollywood boldly leapt into sex, violence and a new kind of radically disjointed storytelling. The killer moment: The granddaddy of hallway scenes has Marvin striding through a nondescript office. His heels echo hypnotically and Boorman takes off, cutting away from the action but never losing that forward momentum. Advertising Italy’s tradition of the giallo thriller – so-called for deriving from yellow-covered pulp novels – is as significant as film noir was to Hollywood: a major evolution of onscreen style linked to a cultural malaise of ennui and free-floating amorality. Inspired director Dario Argento perfected the form with Deep Red, a diabolical killing machine marked by leather-gloved hands (often Argento’s), shiny objects, lavish spurts of blood and the prog-rock tinklings of Goblin. The killer moment: Oh, so the puppet in Saw scared you? Poor thing. Wait until you see this guy, wheeling out of a dark corner with a canned laugh. Louis Malle’s narrative-feature debut is a gorgeously atmospheric crime tale, featuring a score by Miles Davis. Taking place over the course of a single night, this grim story of a murder plan gone awry holds us rapt, thanks in large part to the glamorous yet weary visage of screen legend Jeanne Moreau. The killer moment: Moreau makes wandering aimlessly thrilling, as she walks the Paris streets at night, calling her lover’s name in a moody, doomed funk. Advertising Hitchcock rated this blackly comic suburban thriller as one of his very best, and who are we to argue? He embroiders it with little details: blink-and-you’ll-miss-it evidence that builds up to a portrait of breathtaking sociopathy in the lady-killing Uncle Charlie (Joseph Cotten). To his teenage niece – the young, bored, yearning-to-be-elsewhere Charlotte ‘Charlie’ Newton (Teresa Wright) – his visit is a welcome diversion. At least until she realises that he’s actually a cold-blooded murderer. The killer moment: In his first unguarded moment (a terrifying camera creep), Uncle Charlie shares his real feelings about elderly widows: ‘fat, wheezing animals’. Phil de Semlyen Global film editor The sweat-soaked feature debut of the Coen brothers hints at much of what would come: the half-smart schemers of Fargo, the explosive violence of No Country for Old Men and – making her first screen appearance – Frances McDormand, a force of nature. Blood Simple is still scrappy and surprising: a Texas-shot thriller of limited means but maximum punch, and an indie that still plays beautifully decades later. The killer moment: In a sweltering office filled with the sound of crickets, the gun goes off. Excruciatingly we watch dark red trickle down a white shirt. ‘Who looks stupid now?’ the shooter asks a corpse. Advertising Novelist Jim Thompson was a genius of hardboiled crime fiction: his books are lean and gripping, generally following a rugged, amoral, none-too-bright hero as he’s messed with by a sharp-witted woman with a lust for cash. This Martin Scorsese-produced, Stephen Frears-directed black comedy is one of the strongest adaptations of his work. John Cusack plays the lunk in question, a con-man who thinks he can get one over on his own mother, played with delicious savagery by Anjelica Huston. Needless to say, it doesn’t quite pan out. The killer moment: A dagger-eyed hospital showdown between Huston and Annette Bening (as Cusack’s outrageously oversexed partner in crime) supplies enough fireworks for a shelf of thrillers. Tom Huddleston Arts and culture journalist Roman Polanski’s subtle thriller takes a sail through the waterlogged cracks of a marriage rocked by a handsome vagabond (Zygmunt Malanowicz). An allegory for upper-crust privilege and masculine arrogance – intensified by a hypnotizing score by Krzysztof Komeda –‘Knife in the Water landed on the cover of Time magazine (‘Cinema as an International Art’) and scored an Oscar nomination, launching Polanski’s career in earnest. The killer moment: The film’s title clues us into the fate of the drifter’s precious pocket knife, but there’s even more that goes overboard. Advertising Taking cues from Italian neorealism and the French new wave, director William Friedkin’s punchy police procedural follows ‘Popeye’ Doyle (Gene Hackman) and his partner ‘Cloudy’ Russo (Roy Scheider), two NYC detectives attempting to bust up a heroin-smuggling ring. Based loosely on actual events, the film brought a bracing verisimilitude to the cop flick, as Popeye bellows and brutalises his way through a criminal fraternity. The sequel is every bit as good. The killer moment: Eat it, Bullitt – this one’s got the best car chase in movies, largely shot from a bumper-level perspective. Tom Huddleston Arts and culture journalist Brian De Palma’s reworking of the ’60s thinker Blow-Up is a superbly stylised tale of paranoia, featuring John Travolta as a movie sound-effects technician who believes he’s captured a political assassination in his recordings. The film is bolstered by a number of high-strung set pieces; its combination of slasher-flick imagery, political intrigue and tragedy is intoxicating. The killer moment: De Palma’s camera lurks through a tawdry B-movie women’s dorm, until a showering co-ed screams unconvincingly: cut to the men mixing the movie. Advertising Pure panache and an admitted inspiration on such nobodies as Jim Jarmusch, Walter Hill and John Woo, Jean-Pierre Melville's cryptic thriller channels an almost abstract sense of fate and beauty. (If you liked Drive, you've got homework.) At its core is actor Alain Delon's hitman: trenchcoat-clad, chiseled, a dude of few words. He glides through the film as if doomed; there's not an inch of fat on this plot, which never get sentimental, only colder and more aggressively on target. The killer moment: Delon's assassin cruises on and off several Metro lines, even jumping a moving walkway to shake several different pursuers. The guy is smooth. If there’s one film here that deserves wider exposure, it’s this. In his most honest and heartfelt performance, the late Bill Paxton plays Dale Dixon, a small-town sheriff who dreams of escaping to the city. When word comes that a gang of notorious killers are headed his way, Dale tools up for battle, High Noon-style. But playing the hero isn’t the same as actually being one. Balancing clear-eyed observations on race and class with nerve-shredding tension and a bottomless sense of empathy, ‘One False Move’ is a small, sharp masterpiece. The killer moment: The opening home invasion is still shocking in its offhand brutality. Tom Huddleston Arts and culture journalist Advertising A decade before his class-warfare masterpiece Parasite struck a global nerve, South Korean auteur Bong Joon-ho tapped his inner Hitchcock with this small-scale whodunit. A coldly calculating procedural punctuated with devastating tenderness, Bong’s film follows a fiercely protective back-alley herbalist (South Korean national treasure Hye-ja Kim) playing detective in an attempt to absolve her mentally vulnerable son of a heinous murder. Like its protagonist, the film is unafraid to explore the dark recesses of society, following Mother through a labyrinth of desperation, dead ends and, eventually, moral decay. It’s a heartbreaking, clenched-jaw mystery from front to back. But the greatest trick Bong pulls is forging an unquestioning empathy for the family at its center, even as things take an impossibly dark turn in the third act. The killer moment: Mom takes a well-earned bus tour to the countryside and samples her own medicine as the credits roll. The average presidential tweet packs more controversy these days than anything in Kathryn Bigelow’s geopolitical thriller, so it’s strange to think that when it came out, it spawned a litany of think pieces and even threats of a congressional inquiry. The main accusation leveled at Bigelow – that she condoned the use of torture in her depiction of the hunt for Osama bin Laden – is hardly borne out in a deeply unmisty-eyed look at U.S. foreign policy. A smart thriller that doesn’t skimp on the pyrotechnics when the time comes, it’s basically The Bourne Ultimatum for people who read The Atlantic. The killer moment: Overlooking a table model of Obama’s hideout, CIA agents believe their years of searching are about to pay off. ‘Who are you?’ asks the director of an operative (Jessica Chastain). ‘I’m the motherfucker that found this place,’ she replies, ‘sir.’ Phil de Semlyen Global film editor Advertising Orson Welles’s tale of betrayal, lust and murder, in which he stars as a naive Irish sailor alongside Rita Hayworth as a captivating femme fatale, is filled with visual flourishes and hard-boiled twists. As one of cinema’s great masters, it’s no surprise that Welles made crime films that became so enduring. The killer moment: The shootout in the hall of mirrors is a breathless achievement of cinematic illusion and mise-en-scène. Only Welles could pull off this literal fracturing of the image so confidently. The allegedly Buddhist opening epigraph is fake (writer-director Jean-Pierre Melville simply made it up), but the sense of Zen purity that runs through this flawless French heist movie is wonderfully convincing. Melville’s stylish, crumpled leading man, Alain Delon (also of Le Samouraï), plays Corey, a career crook who is released from prison, drives back to Paris and immediately starts setting up his next job. As lean and meticulous as Japanese calligraphy, this is precision-tooled filmmaking. The killer moment: The silent robbery sequence is a 30-minute master class in sustained tension. Tom Huddleston Arts and culture journalist Advertising An upright but rash cop (Glenn Ford) declares war on organised crime in Fritz Lang’s unrelenting noir of ‘vice, dice and corruption’. This brutal, rug-pulling revenge classic ushered the way for the likes of Chinatown and L.A. Confidential, and still stings like a cigarette burn, with its string of victimised femmes and menacing final line, ‘Keep the coffee hot.’ The killer moment: Gloria Grahame’s angelic face becomes the target of a sinister attacker with a boiling pot of joe. Mercifully, it happens off-screen. An oblique allegory for England’s precariousness on the brink of World War II, Alfred Hitchcock’s breezy, chatty train thriller has its roaring locomotive echoing in almost every train movie since, from Silver Streak to The Girl on the Train. Plus, it introduced the world to the cricket-obsessed comedic characters Charters and Caldicott, who went on to many more films and even a TV series. The killer moment: Is Michael Redgrave the original Ethan Hunt or what? He fearlessly hangs out of his carriage’s window and faces a fast-approaching train. Advertising Denis Villeneuve’s devastating Incendies warned us what to expect from this chilly drug-war thriller: no moral certainties and no happy endings. Like Alice in a narco wonderland, Emily Blunt’s greenhorn FBI agent disappears down the rabbit hole and into a violent world of realpolitik on the Mexican border. Villeneuve mounts spectacular set pieces (the convoy sequence, shot by the great Roger Deakins, is a pulse-pounding standout), while also painting a bleaker picture of the lawless badlands than even Trump can muster. The killer moment: Benicio del Toro’s avenging cartel man sits down to a very short dinner with a drug lord and his family. Phil de Semlyen Global film editor Brian De Palma burnishes his Hitchcock fixation to a high sheen in this supremely confident New York City-set thriller, which features something of a surrogate character for the director himself: a teenage tech whiz (Keith Gordon) obsessed with cameras and spying devices who's bent on avenging the unsolved murder of his glamorous mother (Angie Dickinson). Trans movies have come a long way since this one. The killer moment: It's one of De Palma's purest sequences of total craft: a wordless flirtation between two strangers at the Metropolitan Museum of Art (actually shot in Philly) that becomes a missed connection, a painful rejection, then a chase. Advertising The dramatic world of ballet is fertile ground for an exploration of professional jealousy and obsession. Darren Aronofsky’s lurid psychological horror film delves into the compellingly creepy idea of doppelgangers, via committed performances from Natalie Portman and Mila Kunis, who push the backstage maneuvering to dizzying extremes. The killer moment: Warring prima donnas grapple in an intense, shape-shifting fight scene. With such over-the-top delirium, who could ever think of ballet as prissy? The Godfather and Goodfellas play more like studies in power than straight-up thrillers. No such quibbles, though, with Brian De Palma’s stylised, semi-fictional slice of Chicago crime-fighting lore, which ticks every box on the thriller checklist. With its brilliant, bloody set pieces, tons of quotable dialogue (‘You’re nothing but a lot of talk and a badge’) and a jittery Ennio Morricone score that amps up the tension, it’s De Palma knocking it out of the park. The killer moment: The unbearably suspenseful Battleship Potemkin-homaging Union Station shootout still sends our systolic readings through the roof. Phil de Semlyen Global film editor Advertising A treatise on the act of remembering, a study in loss and grief, and a story told both backward and forward, Memento ought to be impenetrable: a movie for the art house, not the multiplex. So it’s a testament to the craftsmanship of writer-director Christopher Nolan that the film wasn’t just a solid hit, but launched one of the most successful filmmaking careers in contemporary Hollywood. Huge respect is also due to leading man Guy Pearce, who at times seems to be holding the whole project together through sheer force of will. The killer moment: Vicious Carrie-Anne Moss circles our hero, taunting him for his amnesia, knowing he’ll forget everything in a matter of minutes. Tom Huddleston Arts and culture journalist Where is Linda Fiorentino these days? Her Lauren Bacall-level cool in John Dahl’s erotic neo-noir (the Gone Girl of its year) is sorely missed. Watching her sleek seductress Bridget double-cross an abusive husband and manipulate her naive small-town boy toy with a playful shrug is a turn-on in itself. Her effortless villainy is just as steamy as the film’s sex. The killer moment: A nosy private eye falls for Bridget’s cunning ways and voluntarily unzips his pants during a drive – but guess who lives to tell the tale? Advertising Jane Fonda gives an iconic performance as Bree, a prostitute who finds herself involved in a missing-person case being investigated by the titular detective (Donald Sutherland). Bree is a fascinating mix of liberated yet vulnerable ’70s womanhood and the film is filled with paranoia and corruption. New York City’s streets make for a perfect moody backdrop. The killer moment: Late at night, Bree lies in bed as her phone rings and rings, and the camera zooms out slowly. It’s an eloquent, ominous depiction of the threat she faces. Never discount our need to laugh, especially when thrillers are involved. Nick and Nora Charles – crime-busting couple, doting dog owners and constant drinkers – are two of the wittiest creations to ever grace the genre. William Powell and Myrna Loy were never better than they were in this film and its sequels. One might erroneously call The Thin Man a light entertainment but can you find a more romantic depiction of a working partnership, sass and all? The killer moment: All the murder suspects are gathered at a dinner table, as Nick holds court in a big reveal that goes sideways. Advertising Yes, the base thrills of John Boorman’s wilderness survival film are primal as two alphas (Jon Voight and Burt Reynolds) and a pair of betas (Ned Beatty and Ronny Cox) experience the canoe trip from hell. Want conflict? Take your pick between man vs nature, man vs hillbilly and man vs self. But for all the hicksploitation trappings and Bear Grylls set pieces, it’s the constant battle between man and his own masculinity that weighs the heroes down throughout the tragic, meditative survivalist yarn. The killer moment: Following the infamous ‘squeal like a pig’ sequence, a post-traumatic canoe accident renders Reynolds’ grown boy scout incapacitated… completely shifting the group dynamic as things turn deadly. Whenever Robert Mitchum’s revenge-thirsty ex-con Max Cady occupies the screen with his fedora, cigar and signature sleazy grin (accompanied by Bernard Hermann’s alarming orchestra score), we’re seeing a baddie for the ages. J. Lee Thompson’s incendiary adaptation of John D. MacDonald’s 1957 novel The Executioners avoids the word rape entirely, but Cady’s spine-chilling sexual offences can be detected in Mitchum’s terrifyingly dim stare. The killer moment: In the film’s operatic conclusion by the river, Cady cracks an egg and suggestively smears it on his next potential victim. Advertising Humphrey Bogart is a Dixon Steele, a tempestuous screenwriter who may have committed a murder in this Hollywood-set slice of noirish excellence. Dixon and his neighbour turned lover, Laurel (Gloria Grahame), make for a compelling and tricky pair, and the fog of moral ambiguity that surrounds them keeps us on our toes until a dramatic final twist. The killer moment: Bogart recites a fatalistically romantic line he’s written for a script, and then has Grahame repeat it: ‘I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.’ As Hitchcockian as ultra-chic blondes come, the rough-edged murder suspect Catherine Tramell made Sharon Stone an ageless star overnight. It might not be the finest erotic thriller of the ’90s, but Paul Verhoeven’s sweltering, controversial whodunit is among the most legendary with its no-holds-barred sex scenes between Stone’s bisexual novelist and Michael Douglas’s understandably powerless detective. The killer moment: No ice picks necessary: Stone’s tyrannical (and much-parodied) leg-cross in the iconic white dress shows her interrogators who’s on top. Advertising Blending the beautiful expansiveness of the sea with the claustrophobia of a ship’s cabin overtaken by a madman, Dead Calm creates a tense setting for a twisty two-hander between Nicole Kidman and Billy Zane. With her husband (Sam Neill) stranded on a distant sinking boat, our flame-haired heroine gets resourceful, with plenty of shocks along the way. The killer moment: Husband and wife, each in an unstable vessel, attempt to communicate by radio and every word, barely heard, could be their last. Ultimately a breaker of one of the most central tenets of the home-invasion thriller (no telling), Michael Haneke's sickening landmark of pure nihilism remains the hardest of his films to squirm through – and this is the guy who made The Piano Teacher. Advice: If a pair of preppy strangers appears at your door asking to borrow some eggs, turn them away. Haneke truly believes in indicting our bloodlust; he remade this film, shot for shot, with Naomi Watts in 2007. The killer moment: Already a winking Ferris Bueller who talks directly to the lens, ruthless Paul (Arno Frisch) reveals himself to be nothing less than an evil god when his plan goes awry and he grabs the TV's remote control, ‘rewinding’ the scene we just watched and starting over. Advertising A cultural depth charge of vigilante-cop brutality, neo-High Noon cynicism and an extra long .44 Magnum (‘You’ve got to ask yourself one question: “Do I feel lucky?” Well, do ya, punk?’), Don Siegel's crime thriller didn't play by the rules of police procedurals, infusing them instead with the dead-end desperation of the unsolved Zodiac murders. It also made a huge star out of Clint Eastwood, hardened into iconic fury.– The killer moment: Chased down in an empty football stadium, the perp squeals like a pig – ‘I have the right to a lawyer!’ – as Harry steps on his leg wound and the camera helicopters up to a foggy, nightmarish stalemate. The third Dr Mabuse film came nearly 30 years after The Testament of Dr Mabuse and more than four decades after the malevolent medic unleashed his first foul scheme in Dr Mabuse: The Gambler. Director Fritz Lang dispenses with his anti-Nazi allegories to craft a byzantine story in which the not-so-good doctor (Wolfgang Preiss) has every room in a hotel under surveillance. With gadgets aplenty and paranoia rife, it feels like a forebear to a whole generation of techno-thrillers: Enemy of the State and even, dare we say it, Sliver. The killer moment: A sniper takes out a TV reporter who’s behind the wheel of his car. A high-angle shot isolates the suddenly motionless car. Phil de Semlyen Global film editor Advertising With its Rashomon-esque structure of shifting perspectives, Costa-Gavras’s Z (based on the true story of a liberal Greek official’s assassination) revolutionised political thrillers with its maximalist punch: both entertaining and incessantly suspenseful. Its essential theme – the need to seek the truth – exemplifies the chaotic, activism-defined moment in which it was released, and rings urgently true in our era of fake news and government corruption. The killer moment: Right-wing thugs in a truck speed toward a circle of protestors and beat a peaceful politician with a club. Just when we thought of erotic thrillers as forbidden fruit of a bygone era, along came Park Chan-wook’s gothic stunner set in 1930s Korea. The luxuriant visual pleasures of The Handmaiden aren’t exactly male-gaze-proof, but the film’s juicy payoff is a devious slap in the face of any self-appointed abusers. The killer moment: Bodily fluids flow freely during an ‘educational’ multi-position sexual rendezvous between female bedfellows. Advertising This classic boy’s-own thriller features the cool-as-fuck double act of Richard Burton and Clint Eastwood – the dialogue mostly involves growling – giving Hitler a headache by rescuing a captured general held in a Bavarian mountaintop schloss. At least, that’s the plan: even the twists have twists here. It’s one of those rare war films that keeps getting better with age (even if we still don’t know who’s ‘Broadsword’ and who’s ‘Danny Boy’). The killer moment:A cable-car fight is an exercise in white-knuckle excitement, despite looking like it was rear-projected in the MGM parking lot. Phil de Semlyen Global film editor A central piece of Watergate-era thrill-mongering, The Parallax View joins director Alan Pakula's earlier Klute and later All the President's Men in a trilogy with no equal for state-of-the-nation gloominess. Warren Beatty plays a crusading reporter who takes a deep dive into a secret organisation of political assassins; unwittingly, he has no idea how much they'd like to welcome him among their ranks. The killer moment: Beatty's Joe Frady goes for an interview: He's led to a screening room where, Ludovico-style, he's subjected to one of the most radical silent montages ever presented by a Hollywood film. Advertising Two men meet, entirely by chance. Both have someone they want to get rid of, but they’re terrified of getting caught. Why don’t they swap murders? Alfred Hitchcock’s film adaptation of Patricia Highsmith’s most celebrated novel may play fast and loose with the book but it does retain one of her key themes, offering a subtextual portrait of closeted homosexuality in an era of McCarthyite conformity. The result is witty, strange and endlessly fascinating. The killer moment: After a movie’s worth of circling, the climactic struggle on an out-of-control carousel is dizzying. Tom Huddleston Arts and culture journalist Set in French West Africa in the 1930, Bertrand Tavernier’s story of a bumbling, humiliated police chief (Philippe Noiret) who turns murderous offers a caustic look at colonialism and masculinity. The thrills here leave a high body count, but are tempered by a sizable dose of existentialism, and the reliably great Isabelle Huppert brings welcome mischief to the role of a young mistress. The killer moment: Huppert practices shooting a gun while saying, ‘I’ll never use it.’ We know she will – it’s only a matter of when. Advertising This Gotham-set ’70s thriller is salted with cynicism and a contempt for authority – and that’s just the good guys. Walter Matthau is jowly Transit Authority cop Zachary Garber, whose bad day suddenly gets worse when Robert Shaw’s posse hijacks one of his trains. Quentin Tarantino tipped his hat to these villains – Mr. Blue, Mr. Green, Mr. Grey and Mr. Brown – in Reservoir Dogs. Unforgivably, the 2009 Tony Scott remake ditched the brilliant final twist. The killer moment: Cinema’s greatest sneeze: ‘Gesundheit!’ Phil de Semlyen Global film editor No man has ever looked better on screen than Alain Delon in this French adaptation of author Patricia Highsmith’s The Talented Mr Ripley. That’s not just a shallow observation – his hotness is crucial to this take on Tom Ripley. He’s a smokeshow using his absurd good looks as a smokescreen, hiding an icy duplicitousness beneath a veneer of tan-and-chiselled beauty. It only makes his psychopathy more disturbing when it gradually comes into view under the blazing Mediterranean sun. In comparison to Anthony Minghella’s take years later, director René Clément takes more liberties with Highsmith’s novel, churning out a suave stolen-identity thriller. But for all its handsomeness, it still manages to leave viewers feeling vaguely icky by the end. The killer moment: Ripley’s first kill – further proof that you should never go yachting with a mysterious stranger, no matter how handsome they are. Tom Huddleston Arts and culture journalist Advertising Tokyo, 1949. A heat wave rips through the city, and a rookie policeman has his gun stolen by a pickpocket on a crowded trolley. Shamed into action, he pursues the weapon across the city, uncovering a major gun-running ring. Just four years after the end of World War II, Akira Kurosawa’s second major film (following 1948’s yakuza picture Drunken Angel) focuses as much on place and social context as plot and character, utilising documentary footage of the bombed-out city and exploring how ordinary Japanese citizens were coming to terms with their shock defeat. The killer moment: In a grungy, mud-caked showdown in the woods, who’s more desperate, cop or crook? Tom Huddleston Arts and culture journalist Wim Wenders isn’t exactly synonymous with the genre, but he spins out Patricia Highsmith’s Ripley’s Game into an winningly off-kilter thriller. It has Dennis Hopper in the Ripley role as a rich American drifter who latches onto Bruno Ganz’s dying German picture framer and persuades him to start doing hits for a criminal gang. The plotting is not what you’d call Hitchcockian but Wenders is more interested in the existential fog that envelops his characters – and their conspiratorial bond – than the motives behind their crimes. It’s film noir as murky buddy movie. The killer moment: Ganz’s unlikely assassin carries out his first hit on the Parisian Métro. Phil de Semlyen Global film editor Advertising A brutal outlier within director Shane Meadows’ warm, humanist filmography, this revenge thriller is a British exploitation flick with real emotional weight. Paddy Considine plays ex-soldier Richard, bringing a touch of Travis Bickle to the Peak District; Toby Kebbell is his abused, vulnerable brother, Anthony, preyed upon by drug dealers who don’t know what’s coming. Watch this one with Kill List for a rural England double-bill that’ll have you sticking close to the city. The killer moment: A spooky raid in which Richard wears a nightmare-inducing gas mask is straight out of an Otto Dix painting. Phil de Semlyen Global film editor Funny Games director Michael Haneke understands the hidden guilt of the blissful bourgeois, tormented by outside forces – in this case, an unknown stalker with a camera. Among the auteur’s masterpieces, this Juliette Binoche-starrer agitates through its meticulously concealed anxiety, culminating in a political statement on the contemporary residues of historical violence and racism. The killer moment: Husband Daniel Auteuil doesn’t see it coming (neither do we) when a gruesome splash of blood slits open a heretofore sterile film. Advertising Ben Wheatley’s DIY debut Down Terrace was a blast, but nothing could have prepared us for his second feature. Like a DVD-bin thriller given a massive jolt of quality, Kill List takes the basic elements of low-rent Britcrime-bickering hit men, a shady aristo crime boss, dreary suburban locations – and transforms them into art. With its improvised dialogue, pin-drop sound design and shocking violence, the result is terrifying, occasionally frustrating and utterly compelling. The killer moment: If you can watch the hammer scene without wincing, you’re made of stone. Tom Huddleston Arts and culture journalist Hounded out of the U.S. by the ‘reds-under-the-bed’ brigade, filmmaker Jules Dassin plied his trade on the other side of the Atlantic in the ’50s. Hollywood’s loss was Europe’s gain as he made his two greatest movies there: the seminal heist flick Rififi and this London noir featuring a career-best turn from the perennially underrated Richard Widmark. Sheened in sweaty desperation, Widmark’s hustler Harry Fabian is an antihero for the ages as he weaves a web in the criminal underworld so tangled, he eventually becomes caught in it. The killer moment: A climactic foot chase along the Thames shows off Hammersmith in way that’s never looked cooler. Phil de Semlyen Global film editor Advertising Meg Ryan is cast intriguingly against type in director Jane Campion’s dark spin on the erotic thriller. As Frannie, a teacher who becomes entangled with a detective investigating a series of murders, Ryan is basically the opposite of a cute rom-com heroine, and Campion creates a world of sexual menace, thick with violence yet never played for exploitation. The killer moment: Early on, Frannie witnesses a woman going down on a man in the back room of a bar. This startling, surprisingly graphic moment sets the voyeuristic plot in motion. Outside of fairy tales and erotic thrillers, truly maniacal female villains like Annie Wilkes (Kathy Bates) – Misery’s unhinged fangirl turned torturer – are sadly in short supply. We need more of them. Unorthodox, hilarious and increasingly frightening, Rob Reiner’s Stephen King adaptation is a plunge into the lonely, melancholic corners of celebrity obsession, set against the ticking clock of the deadliest deadline. The killer moment: Annie’s shockingly violent ‘hobbling’ of her bed-bound houseguest remains a tough watch. Advertising In some key way the crux of Christopher Walken's spooky, stilted persona, Abel Ferrara's louche gangster picture has come to occupy a central piece of NYC iconography. Walken plays Frank White, a vacant-eyed coke lord who, immediately upon release from prison, resumes his high-flying lifestyle – and idle mayoral aspirations – from a headquarters at the swank Plaza Hotel. The killer moment: We all know Walken can dance, but you haven't seen how weirdly electric and menacing he can be until you've seen his flapping bird. Over five decades, the James Bond franchise has morphed from Cold War thrills to globe-trotting action, via whatever the heck Moonraker was. This instalment, the best of the Roger Moore days, is a fantastically entertaining breakwater between those two phases: escapist fun before the gadget-drenched silliness to come. Special props go to Ken Adam, the production designer charged with creating an oceanic evil lair on a Pinewood backlot. The killer moment: 007 and man-mountain Jaws (Richard Kiel) face off in Egypt’s ancient Temple of Karnak. Phil de Semlyen Global film editor Advertising This Melbourne-set crime thriller packs all the energy of an early Scorsese picture, while bringing something fresh and distinctively Aussie to the genre. David Michôd’s feature debut has its roots in the real-life slaying of two cops in the late ’80s, and those incidents’ recreation is just one of the bursts of violence in a movie that carefully picks its moments for maximum shock. Caught in the middle is wide-eyed innocent Joshua (James Frecheville), wondering who he can trust in the clan of criminals he’s been adopted into. The answer? No one, least of all Jacki Weaver’s Smurf, a matriarch of real menace. The killer moment: The odious but oddly charismatic Pope (Ben Mendelsohn, before he became Hollywood’s go-to villain) seethes in his living-room chair plotting evil, while Air Supply’s ‘All Out of Love’ makes an ironic counterpoint. Phil de Semlyen Global film editor Clint Eastwood’s directorial debut is a potent portrait of obsession. Characteristically cool, he plays Dave, a California DJ dealing with an increasingly unhinged fan-turned-hookup-turned-stalker (Jessica Walter). The dark impulses on display make for an intriguing contrast with the sun-dappled, ultra-’70s aesthetic; the device of the single-minded madwomen, pushing the thrills close to horror, would prove highly influential. The killer moment: Hell-bent on getting closer to her lust object, Evelyn (Walter) breaks into Dave’s bachelor pad and vandalises his possessions – the aftermath is as bad as you’d expect. Advertising Swinging London must be partying elsewhere than in this paranoid spy film, transplanted from the pages of Len Deighton’s novel with the help of a jazzy John Barry score. Behind it all was James Bond producer Harry Saltzman, who gave us Michael Caine’s Harry Palmer, the antithesis of 007. He’s an insubordinate trickster and womaniser (okay, so not completely different), but he wears glasses and – shocker of shockers – cooks. He’s also the deeply cool central cog in this magnificently calibrated espionage thriller. The killer moment: The brainwashing sequence is a trippy foreshadow to a similar scene in The Parallax View. Phil de Semlyen Global film editor There’s a reason why the concept of gaslighting is forever potent: The image of emotional abuse presented in this film is viscerally uncomfortable. Charles Boyer is the viciously manipulative husband; Ingrid Bergman plays his victimised wife; and the audience is left desperately hoping for the cycle of mind games to finally end. The killer moment: ‘Are you trying to tell me I’m insane?’ Bergman asks Boyer, crawling out of her skin and lunging for a real answer. It’s the film’s dark psychological predicament in a single line. Advertising Berlin makes an unforgiving industrial backdrop in Tom Tykwer’s techno-scored time twister. Lola (Franka Potente) needs to find a fortune in 20 minutes or her petty criminal boyfriend gets the chop. Cue three wildly different scenarios that play out like a cross between a video game, an infinitely more gonzo Sliding Doors and a ‘Choose Your Own Adventure’ story. There’s even a Simpsons homage to it, which you can’t say about many low-budget Euro-thrillers. The killer moment: Lola’s first attempt at boyfriend-rescuing ends very badly. Phil de Semlyen Global film editor Deliriously nuts and a treat for fans of the double cross, Gillian Flynn's 2012 bestseller found the ideal adapting filmmaker in David Fincher, whose doomy way with a thriller proved a ruse in itself. The noose tightens around Nick (Ben Affleck, impressively shifty), a bar owner and former hot-shot journalist whose wife, Amy (Rosamund Pike, revelatory), a minor celebrity, has disappeared from their Missouri home. The killer moment: Fed up and vicious, Amy coos from the afterlife – or maybe it's much closer – about the ‘cool girl’ she was required to be. Advertising Michael Mann’s breakthrough noir stars James Caan as an expert safecracker dreaming of leaving the criminal business and going straight, while simultaneously aware that a dream is all it can ever be. Caan gives a tremendous, livewire performance, throwing on a heavy Chicago accent and coming across something like Joe Pesci channelling Ric Flair. Mann, meanwhile, shows off the stylistic trademarks that’d make him one of Hollywood’s coolest auteurs: moody, neon-lit cinematography, icy electronic score (courtesy of Tangerine Dream) and loads of tension that builds toward a violent climax. The killer moment: on a coffee date with Tuesday Weld, the woman he hopes will drag him out of his life of crime, Caan bares his soul and reveals he left most of it behind in prison. It’s a scene with no big explosions or heisty action, but it’s gripping all the same. Matthew Singer Film writer and editor Literature’s Tom Ripley, a con artist, gets captured in René Clément’s Purple Noon, but he murders his way to a grimmer finale in Anthony Minghella’s handsome spin on Patricia Highsmith’s novel. This sun-dappled thriller glimmers with a first-rate cast led by Matt Damon, enviable real estate and a complex gay protagonist (still a mainstream rarity) whose reflection on a polished piano splits apart in a mind-blowing shot. All hail cinematographer John Seale. The killer moment: Suspicious of the title character, Freddie (Philip Seymour Hoffman, superbly obnoxious) repeatedly pounds on a high-pitched piano key, shredding away at Tom’s patience. Advertising You know the plot, because Martin Scorsese used it for his Oscar-winning remake, The Departed. As entertaining as that movie is, the Hong Kong original is even better. Tony Leung and Andy Lau play moles: the former, a cop infiltrating a vicious triad; the latter, a criminal rising through the police ranks. Blazing its way through gunplay and excruciating scenes of hazardous undercover work, Infernal Affairs is the thriller fan’s John Woo. The killer moment: Inevitably, both men stand on a rooftop, sizing each other up, profile to profile. Leo and Matt were never this subtle. John Mackenzie’s Cockney crime-athon is packed with chances to unleash your best Bob ’oskins impression (‘The Mafia? I’ve shit ’em!’). But thanks to gutsy performances by Hoskins as ambitious gangland fixer Harold Shand and Helen Mirren as his icy moll, it never lapses into cliché, slowly cranking up from blood-splashed character study to strangely affecting tragedy. If Shakespeare grew up in post-war Stepney, Shand could have been his Macbeth. The killer moment: A lingering tight shot on Hoskins, complex emotions playing across his face as he’s driven to a date with destiny, is some of the best wordless acting in movies. Phil de Semlyen Global film editor Advertising Not perhaps as polished or as enduring as The Lady From Shanghai, the thriller Orson Welles would make a year later, this potboiler is nonetheless a rollicking good time in a Blue Velvet-y dark-side-of-smalltown-America kind of way. Welles plays a high-ranking Nazi (and amateur horologist) masquerading as a history professor in New England with the perfect cover of a devoted wife (Loretta Young). Edward G Robinson is the war crimes hunter who has his number. It’s a winning blend of clammy tension-building and Welles’s innovative filmcraft. If you’re a fan of clocks, you’ll love it. The killer moment: Edward G Robinson’s shows Loretta Young’s haunted newlywed footage from the Nazi death camps – the first time Holocaust footage has been used in a Hollywood movie. Phil de Semlyen Global film editor
6282	dbpedia	0	67	https://culturecrypt.com/movie-reviews/the-whistler-2018	en	Spanish) — CULTURE CRYPT	http://static1.squarespace.com/static/511eea22e4b06642027a9a99/511eef5ce4b06642027aabd3/5d6fe9c24000070001337dd1/1568738261802/The+Whistler.jpg?format=1500w	http://static1.squarespace.com/static/511eea22e4b06642027a9a99/511eef5ce4b06642027aabd3/5d6fe9c24000070001337dd1/1568738261802/The+Whistler.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1567615483618-7Y10WKRBYXYTGZ0TNN6E/The+Whistler.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1567615541570-XOQYCRRAIY81PFVB629E/50.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1723734070590-OOTLOX8HQ95ZOVUNU02U/Beast+Within.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1721404326534-JDJCY422MEKHBVIG5I01/First+Omen.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1719763333384-SA8L9XC33GH1ICNHFLV7/The+Watchers.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1715875633220-0Q630XASORH38F9MM4ER/Sting.jpg", "https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1711381285218-LX2GDMSNFNICJH06WCL8/You%27ll+Never+Find+Me.jpg", "https://pbs.twimg.com/profile_images/3276633653/1a4a499218c531ec3b0beaad45a14a90_normal.jpeg" ]	[]	[]	[ "" ]	null	[ "Ian Sedensky" ]	2019-09-04T09:52:57-07:00	I’d probably get more out of “The Whistler” on a second viewing, but the first screening doesn’t stoke enough of a fire to compel me to press Play again.	en	https://images.squarespace-cdn.com/content/v1/511eea22e4b06642027a9a99/1363388019973-8ANLRDMJ2KYSYUR9K74I/favicon.ico	CULTURE CRYPT	https://culturecrypt.com/movie-reviews/the-whistler-2018	In the past, Gisela dies after giving birth to a son she names Angel. Seeking revenge for his wife’s death, Gisela’s husband Baudilio murders the shaman who promised him a child. Baudilio’s evil curses his bloodline. Baudilio raises Angel with his sister-in-law Adaisa in a household where he abuses the boy. Baudilio attempts to rape Adaisa, but she is rescued by a local man to whom she is engaged. The man beats Baudilio and takes Adaisa away, even though Adaisa worries about leaving Angel behind. Baudilio begins keeping Angel in chains by his pen of wild dogs. Angel becomes mute and semi-feral as he grows into adulthood. A local woman named Victoria takes a curious interest in Angel. Victoria nicknames Angel “The Whistler” since mimicking birds is the only sound he makes. Baudilio rapes Victoria during one of her visits. Victoria screams for The Whistler to help her. Angel breaks free from his chains and savagely kills his father. However, Baudilio’s dogs get loose and maul Angel to death. Victoria buries Angel’s remains in a pit. In the present, Mayra finds her daughter Ana holding a knife to Ana’s father Gabriel while entranced. Gabriel and Mayra also recover disturbing drawings created by Ana. Believing the drawings to be predictions of horrible deaths, including his own, Gabriel consults local priest Padre Giovani about his daughter being possessed. Giovani and Gabriel later find a man murdered exactly as depicted in one of Ana’s drawings. Giovani shows Gabriel an antique manuscript detailing the legend of “The Whistler.” The story recounts how Angel returned as a disfigured supernatural entity to kill people who committed evil acts such as murdering their own children. Concerned about The Whistler, townspeople led by Sacerdote Pedro blessed Angel’s bones and reburied them with the manuscript beneath the church. When Giovani found the book, he noticed that one of its pages was torn out. Gabriel follows his entranced daughter as Ana brings the missing manuscript page to local witch Teresa. Gabriel warns Teresa against using her occult magic on his family. Mayra spies Gabriel molesting Ana. Mayra commits suicide by hanging herself in a well. Teresa escorts Ana into the woods at night. Gabriel follows. Gabriel becomes a surrogate for Baudilio’s spirit when he confronts Teresa, who transforms into Angel. The Whistler impales Gabriel on a tree branch. Review: I don’t cover a lot of foreign language content because frankly, those movies generally don’t draw anywhere near as many interested eyes as their English-language peers. Nevertheless, I personally enjoy making time for any foreign fright film that can not only offer a unique tour of another country, but can broaden my awareness of a culture-specific legend that was previously unfamiliar. Such is the case with “The Whistler,” which goes by “El Silbon: Origenes” in its native Spanish. According to 19th-century folklore, or the internet’s aggregate interpretation of it anyway, ‘The Silbon’ disemboweled his father as revenge for his abused wife’s murder. The young man’s grandfather punished The Whistler by leashing him to a post and sending starving dogs to maul him. The old man then condemned El Silbon to carry his father’s bones in a sack as he roamed the Los Llanos region of Columbia and Venezuela, punishing drunks, misogynists, and womanizers in the form of a terrifying otherworldly entity. While other variations exist, there isn’t much more to the basic story than that. Then again, there isn’t much more to La Llorona’s story either, so The Whistler at least falls in line with other terse Latin American legends. For a movie subtitled “Origins,” it’s a little weird that “The Whistler” doesn’t follow the folktale’s backstory faithfully, opting for its own slant on The Whistler’s beginnings instead. In the film, a man named Baudilio curses his bloodline by killing a shaman/priest who cryptically promised him a child, yet neglected to warn that Baudilio’s wife would die giving birth. Baudilio’s predilection for evil actions worsens as his son Angel grows older. After a woman whom I believe is the boy’s aunt (the film isn’t clear) is no longer around to offer protection, Baudilio starts chaining up Angel outside. Angel grows up in confinement with limited human interaction, taking to whistling as his sole means of communication. Local girl Victoria takes a curious interest in Angel’s oddness. When Baudilio rapes Victoria, Angel breaks his chains and takes revenge by murdering his father. Unfortunately, Baudilio’s caged dogs break free from their own chains and kill Angel. Angel’s story doesn’t end there. Bouncing back and forth between two timelines, “The Whistler” interweaves Angel’s past with the present day tale of Gabriel and Mayra, who believe their daughter Ana is possessed. Gabriel enlists the help of a priest when Ana creates disturbing drawings that predict horrible deaths, including her father’s. The mystery uncovered connects back to Angel when The Whistler supernaturally reappears to exact his brutal brand of revenge after a horrible family secret is exposed. Usually when a film unfolds across interlocking arcs, concurrent plots parallel each other in a complementary fashion that enhances both narratives. Think of the storytelling payoffs found in “Sliding Doors,” “Pulp Fiction,” even the “Silence of the Lambs” scene where you’re led to believe Clarice Starling is raiding Buffalo Bill’s house with the FBI only to find out she is actually alone. Key moments hit high notes because of how two timelines frame an audience’s perspective. Outside of obvious similarities such as awful fathers and savage murders, the two arcs in “The Whistler” don’t thematically mirror each other much at all. The gradual reveal of how Angel became The Whistler should breathe unique life into Gabriel’s story that couldn’t be obtained in another format and vice versa. Instead, it feels like “The Whistler” merely chopped up two separate movies only to alternate between them both at the detriment of cohesiveness. Angel’s arc isn’t difficult to follow, but Gabriel and Ana get tripped up by some ambiguous additions involving a possible witch and implied molestation. I say “possible” and “implied” because “The Whistler” has a habit of being vague about everyone’s identities and motives. Even after assembling scenes chronologically while writing my detailed story summary, the present day portion of the narrative still didn’t become significantly clearer regarding who’s who and what’s what. “The Whistler” carries a light load in the fright department too. It’s a slow burn from the get go, which is fine. But even when The Whistler finally assumes his fearsome form, he becomes burdened by the background bit about being a vengeance-oriented villain. Bad guys built on tormenting other bad guys are always a hard sell because the rest of us who are not child murderers or rapists have no reason to worry. The Whistler isn’t Freddy killing kids suffering for their parents’ sins or Jason slaughtering average campers. Not only does The Whistler punish people who deserve it, the film spends a great deal of time building sympathy for him as a beaten little boy, all of which severely hampers his capacity to be truly terrifying. Addressing the full half of the glass, superlative cinematography surpasses shaky fiction. With part of the film set in an older era (once again exact details aren’t specified) against the backdrop of a Venezuelan countryside, “The Whistler” captures similar visual vibes as “Hagazussa” (review here), “The Head Hunter” (review here), arguably even “The Witch” (review here). Filmmaker Gisberg Bermudez exhibits competent, even impressive cinematic skills on the technical side. If “The Whistler” tightened its screenplay, or perhaps reconfigured its edit, it would undoubtedly be stronger as an experience in semi-dreamy dread. Due to the modest complexity of its modern day portions, I’d probably get more out of “The Whistler” on a second viewing, but the first screening doesn’t stoke enough of a fire to compel me to press Play again. I’m still grateful I took the single spin as it introduced me to a new slice of South American spookiness. I only wish I came away more creeped out by the content than confounded by the chronology. Review Score: 50
6282	dbpedia	3	65	https://www.inverse.com/entertainment/trap-review-m-night-shyamalan	en	The Most Suspenseful Thriller of the Year Reveals a Divisive Director's True Talent	https://imgix.bustle.com…rop=faces&fm=jpg	https://imgix.bustle.com…rop=faces&fm=jpg	[ "https://imgix.bustle.com/uploads/image/2024/8/2/b38d1b3c/rev-1-trp-t1.jpeg?w=374&h=202&fit=crop&crop=faces&q=50&dpr=2", "https://imgix.bustle.com/uploads/image/2024/8/2/fea943cb/rev-1-trp-04501_high_res_jpeg.jpeg?w=374&h=249&fit=crop&crop=faces&q=50&dpr=2", "https://imgix.bustle.com/uploads/image/2024/8/2/2f27e478/rev-1-trp-t2.jpeg?w=374&h=202&fit=crop&crop=faces&q=50&dpr=2", "https://pixel.quantserve.com/pixel/p-xPmcrFNGfHkBg.gif", "https://sb.scorecardresearch.comp?c1=2&c2=17519299&v=3.9.1&cj=1", "https://www.facebook.com/tr?id=1636673763227734&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[ "Hoai-Tran Bui" ]	2024-08-02T17:19:52+00:00	With 'Trap,' M. Night Shyamalan has delivered the kind of pulpy B-movie thriller only he can make.	en	/favicon.ico	Inverse	https://www.inverse.com/entertainment/trap-review-m-night-shyamalan	In August 2002, M. Night Shyamalan received the most unexpected death knell of his career: Newsweek declared him “The Next Spielberg.” It’s a label that’s been haunting the Sixth Sense director ever since. Worse than simply being known as the “twists guy,” Newsweek’s hollow comparison built an expectation that Shyamalan could deliver the same four-quadrant blockbuster thrills as Steven Spielberg. Instead, the director of Sixth Sense and Signs went on to embrace a kind of hokey, B-movie sensibility you’ll almost never find in a Spielberg picture. Shyamalan’s latest film, Trap, is the purest embodiment of that difference. Like many Shyamalan movies before it, the premise of Trap is the basis of its appeal. A serial killer known as The Butcher (Josh Hartnett) attends a pop star concert with his daughter (Ariel Donoghue) only to find that it’s an elaborate trap set up by the FBI. It’s the kind of pulpy thriller that you might find on cable TV or among forgotten VOD releases that your favorite actor did in the ‘90s. When the premise is all you need to know about the movie — it’s a cat-and-mouse thriller, but you’re rooting for the cat! — you know you’re in for some simple, visceral thrills. And that’s exactly what Shyamalan delivers. M. Night Shyamalan might have gained a reputation early on for crafting elaborate twists, but the truth is, he’s never been a very complex director. Shyamalan likes big emotions and broadly sketched characters. His characters often feel more like chess pieces than actual humans. His dialogue is clunky! But that’s exactly why the director found his perfect niche: movies with simple premises and high stakes where he can flex his keen visual sensibilities. Shyamalan is well aware of the kind of movie he’s making and he doesn’t elevate it as much as meet it on its level. As The Butcher, aka Cooper Adams (a basic, bland name befitting the dorky performance Hartnett initially puts on), realizes what the concert really is, mundane moments take on a decidedly more sinister edge. The bright red bathroom stalls become ominously violent as Cooper secretly checks in on his latest hostage on his phone. The screams of teenage fangirls in the audience become surprising jump scares as Cooper ponders his next move. The bright lights of the arena are used to the most chilling effect of all, with cinematographer Sayombhu Mukdeeprom bathing Hartnett’s dead-eyed expressions in a giallo-like red glow. Trap isn’t as visually elegant as Knock at the Cabin, which felt like Shyamalan reaching a new level of directorial confidence. Where the camera moved with purpose and intentionality in Knock, Trap is more conventional. Shyamalan throws in a couple of split diopters and creative bits of blocking, but at other times, film hilariously becomes an excuse for the director to show off his pop star daughter Saleka Shyamalan, who gets extended sequences to perform nearly full-length versions of her songs. It’s scenes like these, while somewhat endearing if you know the father-daughter connection, that make Trap feel like Shyamalan is operating on autopilot. It’s good, then, that Hartnett gives such a terrifically slippery performance as Cooper, a man whose crocodile smile never betrays his inner thoughts. He seems to have a genuinely sweet relationship with his daughter Riley, who is blissfully unaware of why her dad is behaving “weird.” He appears affable to the merch-booth worker (Jonathan Langdon, the film’s comedic scene-stealer), who naively spills the police force’s entire plan to him. He’s even helpful when a young girl faints, carrying her backstage to help treat her (for the purpose of securing an exit route). There’s a mercurial, unknowable nature to Hartnett’s performance, which feels of a piece to Tom Cruise in Collateral. The character himself is a facade that we, the audience, don’t get to know, even as we find ourselves quietly rooting for him at the beginning. Like Shyamalan’s best leading men, it’s a performance perfectly in tune with the director’s sensibilities. Cooper speaks like an awkward ‘60s automaton because he’s a psychopath masquerading as a normal suburban dad. It’s Hartnett’s superb performance (arguably a career-best for the actor who has steadily started to chart a mini renaissance for himself) that carries the film through its more absurd twists and turns. But it would be disingenuous to call them twists. The director wisely abandons building his movie around one big plot reveal, instead letting Trap shake things up by introducing several surprising left-turns that constantly up the stakes. As the film’s initial premise threatens to run out of steam, the perspective shifts away from Cooper and towards other characters like Lady Raven (with Saleka Shyamalan impressing as the film’s unexpected final girl) and Cooper’s wife Rachel (Alison Pill, lending warmth to a somewhat unforgiving role). Trap’s almost real-time narrative keeps things interesting, as does Hartnett’s increasingly unpredictable performance. Even on autopilot, Shyamalan manages to turn Trap into an almost nonstop exercise in white-knuckle suspense. The film constantly surprises with the speed at which the plot moves and characters come in and out. The momentum occasionally dips, but Shyamalan’s script is efficient, making the most of its 105-minute runtime. Trap is Shyamalan offering B-movie thrills with his signature hokey sincerity, a combination that feels like it’s always been right for the director. He’s done trying to live up to his reputation as the “twist guy” or the “next Spielberg.” He’s finally climbed out of those traps. Trap is playing in theaters now.
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"https://s.studiobinder.com/wp-content/uploads/2021/06/studiobinder-footer-logo.svg", "https://s.studiobinder.com/wp-content/uploads/2021/06/studiobinder-footer-logo.svg" ]	[ "about:blank", "https://www.youtube.com/embed/zZJi_78XUVg?rel=0&modestbranding=0&controls=1&showinfo=1&fs=1&wmode=transparent&start=undefined&enablejsapi=1&origin=https:%2F%2Fwww.studiobinder.com" ]	[]	[ "" ]	null	[ "Brent Dunham" ]	2020-11-08T16:50:16+00:00	In over a century of film, there have been countless great filmmakers but these are the very best movie directors of all time.	en	https://s.studiobinder.com/wp-content/uploads/favicon.ico	StudioBinder	https://www.studiobinder.com/blog/best-movie-directors-of-all-time/	The best movie directors of all time — the idea of such a list sparks immediate debate. Rather than try to impose any sort of definitive or objective best directors list, consider this more of a celebration of the entire medium. Woefully underrepresented on this list are women. While women have been an integral part of the film industry since the beginning, the opportunity to direct was rarely given to them. That means that any list that covers the entirety of film history will be unfortunately one-sided. Thankfully, women have been making great strides in reversing this over the years and we’ve seen some truly masterful and inspiring work from the best female directors working today. We look forward to adjusting this list to include these filmmakers in the years to come. best hollywood directors list 55. Ida Lupino Best Directors of All Time • Ida Lupino Ida Lupino had a fascinating career. She began as a child actress in the '30s before co-founding an independent production company where you wrote, directed and produced her own films. Needless to say, this was basically unheard of in 1950s Hollywood. Her films tackled taboo subjects and The Hitch-Hiker is regarded as one of the best Film Noirs of all time. She ended her decades-long career directing nearly 70 episodes of TV for shows including The Twilight Zone, The Fugitive, and Gilligan's Island. popular korean director 54. Bong Joon Ho Best Movie Directors • Bong Joon Ho Before his landmark smash Parasite, Bong Joon Ho had been churning out minor masterpieces for years. Whether it's his haunting Memories of Murder, his exceptional monster movie, The Host, or his English-language breakout, Snowpiercer — this is a filmmaker to watch. And then came his history-making and Oscar-winning parable about inequality, Parasite. Now more than just a foreign filmmaker wowing the art house crowd, Bong Joon Ho solidified his place among the greats. One of the Best Filmmakers Today 53. Guillermo del Toro Best Movie Directors • Guillermo del Toro We often think of watching movies as entering another world but few filmmakers facilitate that transportation more than Guillermo del Toro. He's a world-builder with razor sharp design and endless imagination. His first feature, Cronos, promised a unique cinematic vision and he's spent the last decades fulfilling that promise. From the dark fairytale world in Pan's Labyrinth, to the techno-power of Pacific Rim, or the gothic pageantry of Crimson Peak — GDT's legacy is alive and well. top movie directors list 52. David Cronenberg Best Directors of All Time • David Cronenberg You know when people say a film "got under their skin"? David Cronenberg films seem to take this euphemism literally. For decades, he has given us nightmares and visions that operate on intellectual as well as visceral levels. Perhaps best known for his "body horror" flicks like Shivers, Rabid and The Brood, Cronenberg's more recent output focus on more "legitimate" plots like the outstanding A History of Violence and the underrated Eastern Promises. legendary filmmaker 51. Sidney Lumet Best Directors • Sidney Lumet Sidney Lumet's career lasted for 50+ years and yielded countless classics. His first feature was 12 Angry Men, one of the most confident and powerful debuts ever, and he hit an insane streak in the '70s — Serpico, Dog Day Afternoon, and Network to name a few. Lumet is a director's director. He cares about the craft, which is obvious whether you've read his seminal book "Making Movies" or not. Few directors have as much range or as much or as much love for the medium as Mr. Lumet did. famous film directors 50. Woody Allen Best Movie Directors • Woody Allen Woody Allen always wanted to be a serious artist. His career began at 16 writing jokes for Sid Caesar and his '60s-era stand-up routines are legendary. He started making comedies like Take the Money and Run and Bananas but his heart was always in heavier subjects. Audiences didn't know what to think when Allen gave them bleak existential tomes like Interiors and September. Where Allen truly found his groove is the combination of the two modes in classics like Annie Hall and Manhattan. BEST MOVIE DIRECTORS OF ALL TIME 49. Kathryn Bigelow Best Movie Directors • Kathryn Bigelow Being the first woman to win the Academy Award for Best Director would be significant enough but her work before and after that win prove that she's got the goods. Near Dark is one the best horror movies, Point Break is one of the best action movies, and those are simply where she started. Her war-time thrillers The Hurt Locker and Zero Dark Thirty aren't simply satisfied with the spectacle of war, they're after something much more. best gothic fantasy director 48. Tim Burton Best Movie Directors • Tim Burton Few directors are defined by their visual style more than Tim Burton. From the idyllic suburban landscapes to the macabre whimsy of his fantasy worlds, Burton melds these disparate styles with a deft hand. His favorite protagonists are loners and outsiders — Edward Scissorhands, Ed Wood, even Batman. But for how dark and morbid some of his stories might be, they're not morose; there is an infectious joy that runs throughout. top american filmmakers 47. Terry Gilliam Best Directors of All Time • Terry Gilliam If Terry Gilliam had stopped directing after his stint in Monty Python, we might assume his genius was dependent on the group. But, as we've seen for decades now, that was not the case. Gilliam takes risks in his work that are equal parts insane and magical. Brazil, 12 Monkeys, Fear and Loathing in Las Vegas, The Imaginarium of Doctor Parnassus — there is an almost meta-thrill of watching an unhinged director making movies about unhinged characters. And we can't admire Gilliam more than for his undying dedication to getting The Man Who Killed Don Quixote finished. best hollywood directors list 46. Wes Anderson Best Movie Directors • Wes Anderson From his dialogue, production design, music, and tone — there is no mistaking a Wes Anderson movie. Whether Anderson's directing style is your cup o' tea or not, you can't deny his ability to inject his movies with style and personality. The other surprising revelation about his work is just how complicated it is tonally. Despite the bright and optimistic hues in Anderson's color palette, his characters are rife with internal conflict, depression, and even suicidal tendencies. Only an artist with a firm grasp on their medium can balance these elements. old-school movie directors 45. Powell and Pressburger Best Directors • Powell and Pressburger Michael Powell and Emeric Pressburger will go down as one of the best director teams in history. While Powell was directing before and after his partnership with Pressburger, they worked best as a team. Working in England, they were fiercely independent and created The Archers, their own production company. Highlights from their indelible career including The Life and Death of Colonel Blimp, A Canterbury Tale, Black Narcissus and The Red Shoes. As many British filmmakers ended up emigrating to Hollywood, Powell and Pressburger were able to stay and help establish the entire British film industry. BEST MOVIE DIRECTORS OF ALL TIME 44. Lois Weber Best Movie Directors • Lois Weber Before the Hollywood studios really got going, women directed quite a lot. Lois Weber is considered the preeminent female director working in and outside the studio system. Weber directed hundreds of shorts and features during her career, including a short called Suspense that would give Hitchcock a run for his money. On top of all that, Weber founded her own production company and continued to crank out exceptional work for decades after. new hollywood directors 43. William Friedkin Best Movie Directors • William Friedkin William Friedkin is a bit of a chameleon and you'd be hard-pressed to identify much of signature directing style. Some directors you can easily put a finger on, and others like Friedkin you can't. For example, consider the fact that he followed up one of the best crime films, The French Connection, with perhaps the greatest horror film of all time, The Exorcist. The former won Best Picture and Best Director (among others), the latter earned nominations in the same two categories (among others). Granted, his most recent work hasn't caught the same amount of buzz but he's still got it. Watch Bug and you'll see what I'm talking about. best movie directors 42. Darren Aronofsky Best Movie Directors • Darren Aronofsky If there's one word to describe Darren Aronofsky's directing style, it would be "uncompromising." His feature debut was a monochrome nightmare called Pi. His follow-up? Requiem for a Dream, one of the most bleak and spiritually exhausting anti-drug PSAs you'll ever watch. Aronfsky's best movies are anchored by unyielding and tragic anti-heroes, driven to self-destruction by their obsessions. Another impressive thing to consider about his filmography is his ability to oscillate between lo-fi 16mm (Black Swan, The Wrestler) and the lush and beautiful (The Fountain, Noah). top hollywood directors 41. Spike Lee Best Directors of All Time • Spike Lee Spike Lee is a singular voice in American cinema. He's an auteur director who wrestles with tough social issues with a sure hand and a clear point of view. Music videos, documentaries, short films and features — Lee has left his mark in many forms over the last four decades. Do the Right Thing, Jungle Fever, Malcolm X, 25th Hour, Inside Man, and BlacKkKlansman are just some of Lee's best movies. Highlights from a career that shows no signs of slowing down. best directors list 40. Pedro Almodóvar Best Directors • Pedro Almodovar You won't find many Pedro Almodóvar movies playing at the mall cineplex. His status on the international circuit and his reign in Spanish cinema, however, is legendary. Almodóvar's point of view is ever present and wholly his own, seeming to capture essential human drama with his pen and his camera. If you're unfamiliar with Almodóvar's work, here's a quick playlist to start with. Women on the Verge of a Nervous Breakdown, All About My Mother, Talk to Her, Volver, The Skin I Live In, and Pain and Glory. Watch those, come back, and tell me I'm wrong. top directors today 39. Lars von Trier Best Movie Directors • Lars von Trier Many people really dislike Lars von Trier and his work. It's an acquired taste to say the very least but there's no denying his love of cinema nor his willingness to destroy it from within. The man and his work defines controversial but if you can stomach the atrocities there is a clear vision. As a co-founder of the Dogme 95 movement, von Trier revels in experimentation. Whether it's a musical shot on video (Dancer in the Dark), a social drama with imaginary sets (Dogville), or letting a computer operate the camera (The Boss of It All). best film directors 38. Abbas Kiarostami Best Movie Directors • Abbas Kiarostami Abbas Kiarostami was a huge part of the second Iranian New Wave. His poetic and non-traditional filmmaking style was a huge influence on his contemporaries. Consider the beautiful sadness found in the Palme d'Or-winning Taste of Cherry, Certified Copy or Like Someone in Love. But if there's one film Kiarostami will forever be known for, it's Close-up. The film blurs the lines between reality and fiction in fascinating and heartbreaking ways. Sight & Sound named Close-up one of the 50 greatest movies ever made, as it should be. BEST MOVIE DIRECTORS OF ALL TIME 37. Brian De Palma Best Movie Directors • Brian De Palma The films of Brian De Palma are edgy — not just in their subject matter but in their presentation as well. In other words, it's difficult to passively consume a Brian De Palma film. It is an engaging activity that often explores the dark and sometimes taboo part of the human experience. His Hitchcockian influence is clearly seen in Sisters, Dressed to Kill and Body Double, but De Palma's filmography is much more nuanced than that. Other highlights include The Untouchables, Blow Out, Mission: Impossible, and one of the best Stephen King adaptations, Carrie. best movie directors 36. Alejandro González Iñárritu Best Directors of All Time • Alejandro Gonzales Iñárritu Along with his contemporaries Alfonso Cuarón and Guillermo del Toro, Alejandro González Iñárritu have brought Mexican cinema front and center on the international stage. By now, you're probably familiar with his work like Birdman and The Revenant, in which he won back-to-back Best Director awards. But that's just what he's done lately. If you want more of his visceral, challenging and thrilling work, check out Amores Perros, 21 Grams, Babel and the grossly underrated Biutiful. Famous Directors 35. Satyajit Ray Best Movie Directors • Satyajit Ray The Father of Indian Cinema, Satyajit Ray created powerful and human cinema. Like his Italian Neorealism contemporaries, Ray worked with minimal budgets, inexperienced crew and non-actors. It's his Apu Trilogy that Ray is most known for — Pather Panchali, Aparajito, and Apur Sansar, three films that became seminal works in film history. But Ray's career was just getting started and he went on to make equally masterful films over the next 40 years. popular directors 34. Ridley Scott Best Movie Directors • Ridley Scott Even though he directed commercials and some television, Ridley Scott's 2nd and 3rd films were Alien and Blade Runner. An audacious beginning to a career that has lasted over 5 decades and counting. Like many other picks on this list, Scott's ability to work in various movie genres and styles makes him nearly unstoppable. He's had his bombs like every other director but when your filmography boasts Thelma & Louise, Gladiator, Black Hawk Down, American Gangster and The Martian, a few speed bumps isn't enough to derail him completely. BEST MOVIE DIRECTORS OF ALL TIME 33. Alice Guy-Blaché Best Movie Directors • Alice Guy-Blaché Working in France at the dawn of cinema, Alice Guy-Blaché was one of the first filmmakers period. Over the next few years, she moved to America with her husband, founded a movie studio and proceeded to direct hundreds of films over the next couple decades. Most of her work has been lost over time but what remains isn't just novelty. Guy-Blaché was just as instrumental in laying the groundwork for the cinematic medium as anyone. legendary directors list 32. Frank Capra Best Movie Directors • Frank Capra During the '30s and '40s, Frank Capra dominated Hollywood filmmaking. An Italian immigrant, Capra embodied the American Dream and extolled its virtues throughout his work. And when WWII came, Capra contributed by directing films for the War Department. He was nominated for Best Director 6 times and won half of them. It Happened One Night, Mr. Deeds Goes to Town, You Can't Take It With You, Mr. Smith Goes to Washington, and It's a Wonderful Life — classics that hold up to this day. most important filmmakers 31. D.W. Griffith Best Directors • D.W. Griffith D.W. Griffith gets a lot of credit for shaping film language that we know and recognize today. He wasn't the first director to use a close-up, for example, but he did solidify how to use them for maximum effect. Griffith directed dozens and dozens of films in his career but Birth of a Nation is his most familiar work. For all its achievements, the film also has some objectionable racial stereotypes. It's unfortunate that such a landmark film from a technical standpoint also has such a stain. Later films like Intolerance and Broken Blossoms would attempt to address and apologize for these transgressions but with little success. best movie directors today 30. Terrence Malick Best Directors of All Time • Terrence Malick The films of Terrence Malick are poetic in every sense of the word. His fragmented and collage-style films have pushed film language into the beautiful and personal. Malick came out swinging with Badlands and Days of Heaven as his first two features. Then...he disappeared for 20 years. The Thin Red Line marked his return and he's been busy since then with breathtaking films like The New World, The Tree of Life and To The Wonder. BEST MOVIE DIRECTORS OF ALL TIME 29. The Coen Brothers Best Movie Directors • Joel and Ethan Coen Joel and Ethan Coen make a different film every time out and yet there is certainly a Coen-esque style to their work. Bouncing between comedy and violence without blinking, the Brothers Coen have amassed a staggering filmography. They've made their career out of dark comedies like Barton Fink, Burn After Reading, and A Serious Man. How a film like No Country for Old Men could emerge from the same minds that conjured Raising Arizona, we'll never know. great german filmmakers 28. Fritz Lang Best Movie Directors • Fritz Lang Fritz Lang had two careers — one in Germany and a second in Hollywood. His best work, arguably, came in the '20s and '30s while working in Germany, including Metropolis, M, and The Testament of Dr. Mabuse. He fled Germany when Hitler came to power. Working in Hollywood for the next 40 years, we have solid entries like Fury, Scarlet Street, and The Big Heat. legendary directors list 27. Andrei Tarkovsky Best Movie Directors • Andrei Tarkovsky On Sight & Sound's 100 Greatest Films of All Time, Andrei Tarkovsky has three of his films represented — Andrei Rublev, The Mirror, and Stalker. Tarkovsky is one of Russia's preeminent movie directors and even though his filmography is quite a bit shorter than many others on this list, what he did in those few films is more than enough. Solaris, Nostalgia, and The Sacrifice are just as impressive. The best directors don't just accept the "rules" of the medium, they push, pull, stretch and break those rules. Watching a Tarkovsky movie is like watching the laws of physics change right in front of your eyes. epic scale director 26. David Lean Best Directors • David Lean David Lean made BIG movies — in their length but also in their scope and depth. We toss the word "epic" around a lot but it was David Lean that truly defined epic cinema. He began with more grounded melodramas like Brief Encounter and Oliver Twist before breaking out with sweeping landscapes like The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago and A Passage to India. best Movie Directors of All Time 25. Alfonso Cuarón Best Directors of All Time • Alfonso Cuarón You won't find a more varied filmography than Alfonso Cuarón's. He switches between genres, industries and demographics with unnatural ease, making his mark on each at every turn. His children's films include A Little Princess and Harry Potter and the Prisoner of Azkaban, which many HP fans consider a highlight in the series. But he also takes on character-driven dramas (Y Tu Mamá También), dystopian thrillers (Children of Men), sci-fi survival stories (Gravity), and a love letter to his childhood in Mexico City (Roma). top movie directors 24. John Cassavetes Best Movie Directors • John Cassavetes His career is most filmed with acting gigs but John Cassavetes became an exceptional movie director in his own right. Cassavetes is often credited with ushering in a new wave of independent filmmaking. You'll find gritty, handheld works like Shadows and Faces alongside devastating domestic dramas like Husbands and Minnie and Moskowitz. And if you want to see one of the most heartbreaking performances by an actress, check out Gena Rowlands in A Woman Under the Influence, which doesn't so much appear to be directed as it does captured. best movie directors list 23. Roman Polanski Best Movie Directors • Roman Polanski Roman Polanski's first feature, Knife in the Water, is a taut thriller and a stunning debut. He would continue in this mode again with unsettling deftness in Repulsion, Cul-de-sac, and The Tenant. Polanski's greatest works are Rosemary's Baby and Chinatown, two films that became pillars in their respective genres. He doesn't overplay his hand in Rosemary's Baby as he manages to ride that fine line between sanity and insanity. Chinatown is Film Noir throwback that hits all the right notes. Despite his rather troubling personal life, Polanski brought extreme talent with him to Hollywood. best movie directors 22. Billy Wilder Best Directors • Billy Wilder Billy Wilder managed to work within the studio system and still give his films a distinct perspective and personality. It helped that he was a writer as well but no matter what the subject matter, Billy Wilder delivered consistently. We can't think of Film Noir with his Double Indemnity, his haunting meta-drama Sunset Blvd. exposed a dark heart at the center of fame, and his cross-dressing comedy Some Like It Hot is near perfection. Don't forget his dramas that were unusually frank and bleak like The Lost Weekend and The Apartment. One of the Best Filmmakers Today 21. Christopher Nolan Great directors like Nolan have a strong vision • Subscribe on YouTube Since he broke out with Memento, Christopher Nolan has carved out a place for himself all his own. He works with high budgets and high concepts — and he's just getting started. Nolan's directing style combines strong visuals in his shot lists with highly sophisticated themes — like his use of "circles as motifs." He is also very transparent in his quotes and interviews about his process. For many reasons, Nolan has already established himself as one of the best directors and chances are good that his status will remain intact. best german directors 20. F.W. Murnau Best Movie Directors • F.W. Murnau F. W. Murnau was yet another German immigrant to Hollywood, exchanging the dramatic flare of German Expressionism for slightly more optimistic studio films. First there's Nosferatu, the progenitor of the vampire movies. The Last Laugh is a crushing tragedy about a man losing everything. Faust is a morality tale that's just as terrifying as anything in Nosferatu. And, perhaps his crowning achievement, Sunrise: A Song of Two Humans shared the very first Best Picture award. For many, myself included, Sunrise is the pinnacle of silent filmmaking. BEST MOVIE DIRECTORS OF ALL TIME 19. David Fincher Best Movie Directors • David Fincher A defining characteristic of David Fincher's directing style is his attention to detail. Everything we see on-screen is calculated, as is his camera movement and editing. He specializes in crime thrillers like Se7en and Zodiac with an occasional detour into straightforward dramas like The Curious Case of Benjamin Button. If if the subject matter isn't your thing, what's truly inspiring to watch Fincher's work is to know that he is in complete control of his medium. Like a master conductor leading a 100-piece orchestra through a pitch perfect symphony, Fincher crafts cinematic gold. legendary french directors 18. Jean-Luc Godard Best Movie Directors • Jean-Luc Godard While Hollywood spent decades trying to perfect "invisible filmmaking," Jean-Luc Godard made it his personal mission to blow it all up. Like the Russians of the '20s using Soviet Montage for propaganda, Godard used his medium to shake things up. For him, "film as entertainment" is not just boring, it's offensive. At the forefront of the French New Wave movement, Godard started rewriting the film language dictionary. His outstanding works include Breathless, Contempt, Alphaville, Pierrot le Fou and Weekend. top hollywood directors 17. David Lynch Best Movie Directors • David Lynch If you've read his book on transcendental meditation, you know that David Lynch likes to "catch" his ideas somewhere in the depths of his subconscious. Watching his films, it becomes immediately clear that this is entirely accurate. What Lynch shows us are dreams, dark and inexplicable. Eraserhead is a puzzle, Blue Velvet is a suburban nightmare, and Lost Highway is a doppelgänger mystery to end them all. The third season of Twin Peaks is nearly 18 hours of daring and exhilarating television. But his crowning achievement will probably end up being Mulholland Dr., which has topped many Best of the Decade polls. best japanese filmmakers 16. Yasujiro Ozu Best Movie Directors • Yasujiro Ozu The cinema of Yasujiro Ozu is defined by stillness. Both his camera and characters are often immobile, and this gives his films (and the audience) the chance to reflect and look inward. While other filmmakers tend to impose a perspective onto their work, Ozu lets you do the heavy lifting and we're better off for it. Even from the titles, you can anticipate the mood, themes and pacing. Floating Weeds, Late Spring, Equinox Flower — see what I mean? But his most revered work is Tokyo Story, a heartbreaking family drama about generation gaps, modernity, and how families grow apart. BEST MOVIE DIRECTORS OF ALL TIME 15. Orson Welles Best Movie Directors • Orson Welles When Orson Welles made Citizen Kane, it was a blessing and a curse. At the time of release, the film wasn't immediately embraced as the greatest film ever made — that would come later. Directing movies after that became an uphill battle for Welles. Studio interference forced him to basically go independent and he spent the next 3 decades finishing as many films as he left abandoned. Welles' best films outside of Citizen Kane include The Magnificent Ambersons, Macbeth, Touch of Evil and F for Fake. greatest movie directors 14. Francis Ford Coppola Best Movie Directors • Francis Ford Coppola Before he changed the game with The Godfather, Francis Ford Coppola was making low-budget "B" movies. And then he just kept making masterpieces. Naturally, there was The Godfather: Part II and The Godfather: Part III, one of those is better than the other. But there are also slept-on classics like One from the Heart, The Outsiders, and the divisive but undeniably gorgeous Bram Stoker's Dracula. Oh, and there's this little film called Apocalypse Now. most influential filmmakers 13. Federico Fellini Best Directors • Federico Fellini Outside the post-war Neorealism movement, there is no Italian cinema without Federico Fellini. To describe is work, the first adjective that comes to mind is "magical." Not like rabbit-out-of-a-hat magic, it's more a feeling you get after watching a movie like Juliet of the Spirits or La Strada and can't help but feel there's more to life than we can see. La Dolce Vita is a celebration of adulthood, I Vitteloni is a celebration of youth, and 8 1/2 is a celebration of the creative process — even when it tears the artist apart. best Filmmakers Today 12. Paul Thomas Anderson Best Movie Directors • Paul Thomas Anderson Paul Thomas Anderson's directing style took a quantum leap forward after Punch-Drunk Love. Prior to that, his work is kinetic and frenetic with protagonists buzzing with emotions. Then he made a film called There Will Be Blood and everything since has focused that same amount of energy and power inward. The Master is masterclass in acting and Phantom Thread is a character study that is as demanding as it's lead, Reynolds Woodcock. And Inherent Vice is an acquired taste, its genius is only revealed upon subsequent viewings. BEST MOVIE DIRECTORS OF ALL TIME 11. Denis Villeneuve Best Movie Directors • Denis Villeneuve His first couple of films don't really allude to the level of artistry that has defined Denis Villeneuve's subsequent work. On one hand, it's been thrilling to see each of his films get better than the last. On the other hand, no one can keep up this batting average forever. At some point, Denis Villeneuve will make a bad movie but it hasn't happened yet. Films like Polytechnique, Incendies and Prisoners tread through the dark corners of the human experience. Arrival and Blade Runner 2049 transport us to new and dangerous worlds. famous directors list 10. Charlie Chaplin Best Movie Directors • Charlie Chaplin When you realize that Charlie Chaplin himself was an orphan living on the street, his Tramp persona becomes that much more tragic. We all love underdogs and the Tramp must be crowned King of the Underdogs. Without dialogue, Chaplin was able to communicate the entire range of human emotions. You can't watch The Kid without balling, you can't watch City Lights without rekindling your sense of romance, and you can't watch The Great Dictator without promising to fight the good fight. top russian movie directors 9. Sergei Eisenstein Best Movie Directors • Sergei Eisenstein Sergei Eisenstein turned cinema into a weapon. Along with the other Soviet filmmakers, their experiments revealed what moving pictures can do. The unleashed the power that cinema has to move people politically as much as emotionally. Strike is an unflinching portrayal of working class conflict. October (Ten Days that Shook the World) manifested an entire revolution on screen. And, of course, as you've probably seen in every film history class, the Odessa Steps sequence in Battleship Potemkin will forever go down as the greatest example of film editing. Best Movie Directors • John Ford If you look on John Ford's IMDb page, you'll see he has 147 directing credits...and MANY of those are feature length. Sure, Ford was a fixture in the Hollywood Studio System that would allow for such extensive output. And there are plenty of other directors from that era with just as many credits but far less masterpieces. Here's a quick highlight reel of John Ford's best: Stagecoach, Young Mr. Lincoln, The Grapes of Wrath, How Green Was My Valley, My Darling Clementine, The Searchers and The Man Who Shot Liberty Valance. famous film directors 6. Quentin Tarantino Best Movie Directors • Quentin Tarantino One of the criteria for this list was cultural impact and Quentin Tarantino has been something like an atomic bomb in pop culture. As Hollywood's biggest fanboy, he has made a career out putting that cinephilia right back onto the screen. When an artist puts this amount of personal joy into their work, it can be nothing short of infectious. If rumors are true, we'll only get one more Quentin Tarantino film before his self-imposed retirement. No matter what that swan song looks like, Tarantino has cemented his place in the pantheon of the best directors. BEST MOVIE DIRECTORS OF ALL TIME 5. Martin Scorsese Best Movie Directors • Martin Scorsese What can we say about Martin Scorsese that we all don't already recognize? He is a master movie director of the highest order and he's just as much of a movie fan as the rest of us. What people should maybe remember is that Scorsese doesn't just make phenomenal gangster movies — he's actually got quite a bit of range. We all know Scorsese's best movies, so let's use this opportunity to recognize his lesser works. Alice Doesn't Live Here Anymore is an excellent character-driven domestic drama. The Color of Money is about as exciting as a billiards movie can be. And who could forget the synchronicity of Nicolas Cage losing his mind in Bringing Out the Dead? best american movie directors 4. Steven Spielberg Best Movie Directors • Steven Spielberg Steven Spielberg has been directing for over 50 years and shows no signs of stopping. Looking at his career, it's not just the sheer number of movies he's directed (30+), it's the amount of greatness on that list. Let's also recognize his range of subjects and genres. Children's films, war films, science fiction, fantasy adventures, and espionage thrillers. Spielberg has also mastered blocking and staging, turning simple conversations into dynamic moments and, in general, turning words on a page into cinematic art. top movie directors 3. Akira Kurosawa Best Movie Directors • Akira Kurosawa You don't have to understand Japanese culture or be a scholar of the country's Sengoku period to appreciate what Akira Kurosawa's work means. The point is Kurosawa took stories that are extremely specific and made them globally relevant. His stories took common themes from his own culture but also Shakespeare and found a message that resonated around the world. Of all the filmmakers on this list, perhaps no one had as much global impact on filmmaking than Mr. Kurosawa. From his samurai epics like Yojimbo and Seven Samurai to his modern dramas like Ikiru and The Bad Sleep Well, there is something we can all take away from his work. Greatest Directors of All Time 2. Alfred Hitchcock Best Movie Directors • Alfred Hitchcock There's a scene in Hitchcock, the biography starring Anthony Hopkins, where Alfred Hitchcock stands outside a packed theater as an audience watches Psycho for the first time. And when the infamous shower scene unfolds and the cacophony of screams erupts, Hitchcock emphatically waves his arms back and forth like an orchestral conductor. This is exactly what Hitchcock set out to do — play the audience like an orchestra. He knew exactly what notes to play, when to play them, and when to keep us waiting for them. You don't earn the moniker "Master of Suspense" by accident and that's because perhaps more than any other director, Hitchcock knows his audience. This is an artist so confident in his abilities that most of energy went into planning a film and actually shooting it was obligatory and boring. BEST MOVIE DIRECTORS OF ALL TIME 1. Stanley Kubrick Best Movie Directors • Stanley Kubrick So, here we are. Why is Stanley Kubrick the best movie director of all time? Well, we don't have 3 hours to explain everything so here's a brief argument for this decision. If we can agree on the qualities that great directors must have, Kubrick simply checks all of the boxes. He has a point of view that he uses his medium to express. There is an obvious command of the tools necessary to manifest these films. Kubrick's fascination with cameras and lenses, along with his background in photography, makes his composition, framing, and lighting second to none. If you want escapism from your entertainment, Kubrick will take you there. Perhaps you're looking for a moral message or a reflection of our own world — Stanley's got you covered. Maybe you want to laugh at the absurdity of human behavior? Look no further. In 13 films over 46 years, Stanley Kubrick perfected the art of cinema. UP NEXT How to become a director Are you a filmmaker trying to get your project off the ground? In the next article, we'll go through the process of how to become a director. From getting work on on sets to directing short films and working the festival circuit. There is no singular path to becoming a movie director but there are things you've got to do first. Come along and we'll explain it all. Up Next: Becoming a director → Showcase your vision with elegant shot lists and storyboards. Create robust and customizable shot lists. Upload images to make storyboards and slideshows. Learn Mo re ➜ 230 Shares 125 Facebook 24 Pinterest 0 Reddit 81 LinkedIn 0 Twitter
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the most famous film directors of the 20th century. He directed more than 50 feature-length films from the 1920s into the 1970s. Hitchcock’s image, seen during Hitchcock’s frequent cameos in his own films and before each episode of the hit TV show Alfred Hitchcock Presents, has become synonymous with suspense. Dates: August 13, 1899 – April 29, 1980 Also Known As: Alfred Joseph Hitchcock, Hitch, Master of Suspense, Sir Alfred Hitchcock Growing Up with a Fear of Authority Alfred Joseph Hitchcock was born on August 13, 1899, in Leytonstone in the East End of London. His parents were Emma Jane Hitchcock (neé Whelan), who was known to be stubborn, and William Hitchcock, a grocer, who was known to be stern. Alfred had two older siblings: a brother, William (born 1890) and a sister, Eileen (born 1892). When Hitchcock was just five years old, his strict, Catholic father gave him quite a fright. Attempting to teach Hitchcock a valuable lesson, Hitchcock’s father sent him to the local police station with a note. Once the police officer on duty read the note, the officer locked young Hitchcock in a cell for several minutes. The effect was devastating. Although his father was trying to teach him a lesson about what happened to people who did bad things, the experience left Hitchcock shaken to the core. As a result, Hitchcock was forever fearful of the police. A bit of a loner, Hitchcock liked to draw and invent games on maps in his spare time. He attended St. Ignatius College boarding school where he stayed out of trouble, fearful of the strict Jesuits and their public canings of boys who misbehaved. Hitchcock learned draftsmanship at the London County Council School of Engineering and Navigation in Poplar from 1913 to 1915. Hitchcock’s First Job After graduating, Hitchcock got his first job in 1915 as an estimator for W.T. Henley Telegraph Company, a manufacturer of electric cable. Bored by his job, he regularly attended the cinema by himself in the evenings, read the cinema trade papers, and took drawing classes at London University. Hitchcock gained confidence and began to show a dry, witty side at work. He drew caricatures of his colleagues and wrote short stories with twist endings, to which he signed the name “Hitch.” Henley’s Social Club magazine, The Henley, began publishing Hitchcock’s drawings and stories. As a result, Hitchcock was promoted to Henley’s advertising department, where he was much happier as a creative advertising illustrator. Hitchcock Gets Into Filmmaking In 1919, Hitchcock saw an ad in one of the cinema trade papers that a Hollywood company named Famous Players-Lasky (which later became Paramount) was building a studio in Islington, a neighborhood in Greater London. At the time, American filmmakers were considered superior to their British counterparts and thus Hitchcock was extremely excited about them opening up a studio locally. Hoping to impress those in charge of the new studio, Hitchcock discovered the subject of what was to be their first motion picture, bought the book it was based on, and read it. Hitchcock then drew up mock title cards (graphic cards inserted into silent movies to show dialogue or explain action). He took his title cards to the studio, only to find that they had decided to film a different movie. Undaunted, Hitchcock quickly read the new book, drew up new title cards, and again took them to the studio. Impressed by his graphics as well as his determination, Islington Studio hired him to moonlight as their title-card designer. Within a few months, the studio offered 20-year-old Hitchcock a full-time job. Hitchcock accepted the position and left his steady job at Henley to enter the unsteady world of filmmaking. With calm confidence and a desire to make movies, Hitchcock began to help out as a screenwriter, assistant director, and set designer. Here, Hitchcock met Alma Reville, who was in charge of film editing and continuity. When the director fell ill while filming the comedy, Always Tell Your Wife (1923), Hitchcock stepped in and finished the film. He was then offered the opportunity to direct Number Thirteen (never completed). Due to a lack of funds, the motion picture abruptly stopped filming after a few scenes were shot and the entire studio shut down. When Balcon-Saville-Freedman took over the studio, Hitchcock was one of just a few people asked to stay on. Hitchcock became the assistant director and screenwriter for Woman to Woman (1923). Hitchcock hired Alma Reville back for continuity and editing. The picture was a box-office success; however, the studio’s next picture, The White Shadow (1924), failed at the box-office and again the studio shut down. This time, Gainsborough Pictures took over the studio and Hitchcock was again asked to stay. Hitchcock Becomes a Director In 1924, Hitchcock was the assistant director for The Blackguard (1925), a film shot in Berlin. This was a co-production deal between Gainsborough Pictures and UFA Studios in Berlin. Not only did Hitchcock take advantage of the Germans’ extraordinary sets, but he also observed the German filmmakers using sophisticated camera pans, tilts, zooms, and tricks for forced perspective in set design. Known as German Expressionism, the Germans used dark, moody thought-provoking topics such as madness and betrayal rather than adventure, comedy, and romance. The German filmmakers were equally happy to learn an American technique from Hitchcock whereby scenery was painted onto the camera lens as a foreground. In 1925, Hitchcock got his directorial debut for The Pleasure Garden (1926), which was filmed in both Germany and Italy. Again Hitchcock chose Alma to work with him; this time as his assistant director for the silent film. During filming, a budding romance between Hitchcock and Alma began. The film itself is remembered for the myriad of troubles the crew ran into during filming, including having customs confiscate all of their unexposed film as they crossed the international border. Hitchcock Gets “Hitched” and Directs a Hit Hitchcock and Alma married on February 12, 1926; she would become his chief collaborator on all his films. Also in 1926, Hitchcock directed The Lodger, a suspense movie filmed in Britain about a “wrongly accused man.” Hitchcock had chosen the story, used fewer title cards than usual, and tossed in bits of humor. Due to a shortage of extras, he had made a cameo appearance in the film. The distributor didn’t like it and shelved it. Stunned, Hitchcock felt like a failure. He was so despondent that he even contemplated a career change. Luckily, the film was released a few months later by the distributor, who had been running short on films. The Lodger (1927) became a huge hit with the public. Britain’s Best Director in the 1930s The Hitchcocks became very busy with filmmaking. They lived in a country house (named Shamley Green) on the weekends and lived in a London flat during the week. In 1928, Alma delivered a baby girl, Patricia – the couple’s only child. Hitchcock’s next big hit was Blackmail (1929), the first British talkie (film with sound). During the 1930s, Hitchcock made picture after picture and invented the term “MacGuffin” to illustrate that the object the villains were after needed no explanation; it was just something used to drive the story. Hitchcock felt he didn’t need to bore the audience with details; it didn’t matter where the MacGuffin came from, just who was after it. The term is still used in contemporary filmmaking. Having made several box-office flops in the early 1930s, Hitchcock then made The Man Who Knew Too Much (1934). The film was a British and American success, as were his next five films: The 39 Steps (1935), Secret Agent (1936), Sabotage (1936), Young and Innocent (1937), and The Lady Vanishes (1938). The latter won the New York Critics’ Award for Best Film of 1938. Hitchcock caught the attention of David O. Selznick, an American film producer and owner of Selznick Studios in Hollywood. In 1939, Hitchcock, the number one British director at the time, accepted a contract from Selznick and moved his family to Hollywood. Hollywood Hitchcock While Alma and Patricia loved the weather in Southern California, Hitchcock was not fond of it. He continued to wear his dark English suits no matter how hot the weather. In the studio, he worked diligently on his first American film, Rebecca (1940), a psychological thriller. After the small budgets he had worked with in England, Hitchcock delighted in the large Hollywood resources he could use to build elaborate sets. Rebecca won the Oscar for Best Picture in 1940. Hitchcock was up for Best Director, but lost to John Ford for The Grapes of Wrath. Memorable Scenes Fearing suspense in real life (Hitchcock didn’t even like driving a car), he did enjoy capturing suspense on screen in memorable scenes, which often included monuments and famous landmarks. Hitchcock planned every shot for his motion pictures beforehand to such an extent that filming was said to be the boring part to him. Hitchcock took his audiences to the domed roof of the British Museum for a chase scene in Blackmail (1929), to the Statue of Liberty for a free fall in Saboteur (1942), to the streets of Monte Carlo for a wild drive in To Catch a Thief (1955), to the Royal Albert Hall for an assassination misfire in The Man Who Knew Too Much (1956),underneath the Golden Gate Bridge for a suicide attempt in Vertigo (1958), and to Mt. Rushmore for a chase scene in North by Northwest (1959). Other Hitchcock memorable scenes include a glowing poisoned glass of milk in Suspicion (1941), a man chased by a crop duster in North by Northwest (1959), a stabbing scene in the shower to shrieking violins in Psycho (1960), and killer birds gathering in a schoolyard in The Birds (1963). Hitchcock and Cool Blondes Hitchcock was known for engaging the audience with suspense, accusing the wrong man of something, and portraying a fear of authority. He also threw in comic relief, portrayed villains as charming, used unusual camera angles, and preferred classic blondes for his leading ladies. His leads (both male and female) portrayed poise, intelligence, underlying passion, and glamour. Hitchcock said audiences found classic blonde females to be innocent looking and an escape for the bored housewife. He didn’t think a woman should wash the dishes and go see a movie about a woman washing the dishes. Hitchcock’s leading ladies also had a cool, icy attitude for added suspense -- never warm and bubbly. Hitchcock’s leading ladies included Ingrid Bergman, Grace Kelly, Kim Novak, Eva Marie Saint, and Tippi Hedron. Hitchcock’s TV Show In 1955, Hitchcock started Shamley Productions, named after his country home back in England, and produced Alfred Hitchcock Presents, which turned into the Alfred Hitchcock Hour. This successful TV show aired from 1955 to 1965. The show was Hitchcock’s way of featuring mystery dramas written by various writers, mostly directed by directors other than himself. Before each episode, Hitchcock presented a monologue to set up the drama, beginning with “Good Evening.” He came back at the end of each episode to tie up any loose ends about the culprit being caught. Hitchcock’s popular horror movie, Psycho (1960), was filmed inexpensively by his Shamley Productions TV crew. In 1956, Hitchcock became a U.S. citizen, but remained a British subject. Awards, Knighthood, and Death of Hitchcock Despite being nominated five times for Best Director, Hitchcock never won the Oscar. While accepting the Irving Thalberg Memorial Award at the 1967 Oscars, he simply said, “Thank you.” In 1979, the American Film Institute presented Hitchcock with its Life Achievement Award at a ceremony at the Beverly Hilton Hotel. He joked that he must be about to die soon.
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Igoe" ]	2022-09-03T00:37:14+00:00	If you're looking for a mystery movie with a side of murder and a good twist ending, look no further than our list of the best murder mystery movies — featuring more than a few detectives.	en	https://cdn.mos.cms.futu…zd1627591128.svg	Marie Claire Magazine	https://www.marieclaire.com/culture/g28513718/best-murder-mystery-movies/	Sure, true crime shows are having a moment, but murder mystery movies will always have a place in our hearts. It turns out there could even be a psychological reason we’re drawn to mystery films and crime stories in general: They may serve as a kind of “fairy tale for adults,” where we can experience things that scare us at an arms length, which in turn helps us to become less afraid of them. Also? Murder mysteries are exciting to watch and leave you guessing until the end, which is as good a reason to spend a night in as any. The list below features the best murder mystery movies ever made, emphasizing both old-school classics and new additions to the genre. Among the classics are, of course, Psycho and North by Northwest, but also must-watch films you may have slept on, like Diabolique and The Third Man. Elsewhere, you’ll find murder mysteries that lean toward laughs, like Knives Out and Kiss Kiss Bang Bang, to name a few. And we’ve even pulled out movies with plot twists you simply will not see coming, like The Black Dahlia and the seriously underrated Bad Times at the El Royale. (Don’t worry: We kept it spoiler-free so you can do your own sleuthing before the credits roll.) Best Classic Murder Mystery Films 'North by Northwest' (1959) WATCH IT Starring: Cary Grant, Eva Marie Saint, and James Mason. The mystery: If you're a fan of the modern mystery, spy thriller, or adventure film, this Hitchcock film provides the blueprint for all three. Framed for a murder he didn't commit, mistaken for a criminal, and on the run with a mystery woman, Roger (Grant) must try to simultaneously solve the mystery and not be murdered himself. It's just as twisty and compelling as it sounds—and it's aged well, considering it's five decades old. 'Dial M for Murder' (1954) WATCH IT Starring: Ray Milland, Grace Kelly, Robert Cummings, and John Williams. The mystery: A man plots the perfect murder to get rid of his adulterous wife, but is backed into a corner when his wife fights back and kills her assassin in self-defense. Another Hitchcock classic, the plot starts out twisty and only gets twistier. 'Rebecca' (1940) WATCH IT Starring: Laurence Olivier, Joan Fontaine, Judith Anderson, George Sanders, and Gladys Cooper. The mystery: The precursor to his classic murder-mysteries, Hitchcock takes on the (notoriously hard to adapt) book to great effect. It's about a young bride whose husband's first wife died under mysterious circumstances. Who killed her? And why?? 'The Big Sleep' (1946) WATCH IT Starring: Humphrey Bogart and Lauren Bacall. The mystery: Private investigator Philip Marlowe (Bogart) is hired by General Sternwood to help fix his daughter, Carmen's, gambling debts. Marlowe turns to the general's older daughter, Vivian (Bacall), who reveals that the situation is much more complicated than it appears. The film really dives into how a crime is solved. With literary legend William Faulkner cowriting, the story's aged well. 'Death on the Nile' (1978) WATCH IT Starring: Peter Ustinov, Maggie Smith, Angela Lansbury, Bette Davis, Mia Farrow, David Niven, George Kennedy, and Jack Warden. The mystery: There's a remake coming out, so familiarize yourself with this classic Agatha Christie adaptation now. A woman steals her best friend's husband and ends up dead—only her BFF couldn't possibly have done it. So who did? Mia Farrow (playing the best friend) is quite good in this, channeling the perfect balance of intense and hysterical. But the cast is also packed with unbelievable talent, including a gloriously young Maggie Smith and Angela Lansbury. 'Psycho' (1960) WATCH IT Starring: Anthony Perkins, Janet Leigh, John Gavin, Vera Miles, and Martin Balsam. The mystery: This horror film is also the ultimate murder mystery, in part because of who the murderee is...(no spoilers, even though you've probably seen that pivotal scene). Hitchcock's insistence on an unconventional narrative structure shoots the story forward. And he leaves red herrings throughout the film to make the ending feel genuinely surprising, even now. 'Chinatown' (1974) WATCH IT Starring: Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, and John Huston. The mystery: LA private eye J.J. "Jake" Gittes (Nicholson) is hired by a woman named Evelyn Mulwray to investigate her husband's suspected infidelity. But the case takes a turn when Jake meets the real Mrs. Mulwray (this one played by Dunaway) and finds himself investigating Mr. Mulwray's sudden death. It's a multilayered story about corruption, cruelty, and deception at every level of society. Do be warned, though, that there's sexual violence, and it's an intense story. 'Charade' (1963) WATCH IT Starring: Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, and George Kennedy. The mystery: Sometimes deemed "The best Hitchcock movie Hitchcock never made," this actually is a mystery, comedy, and romance all wrapped into one movie. Never fear, the premise is intensely interesting: A woman's husband dies unexpectedly and mysterious men come after her too. A handsome stranger (Grant) wants to help...or does he? 'The Long Goodbye' (1973) WATCH IT Starring: Elliott Gould, Sterling Hayden, Nina Van Pallandt, Jim Bouton, and Mark Rydell. The mystery: A private detective gives his friend a lift to Mexico, then said friend's wife turns up dead. Then so does the friend. It's a perfect picture of '70s-era L.A., and all the seediness of the city, as the private detective sets out to learn what happened. 'The Third Man' (1949) WATCH IT Starring: Orson Welles, Joseph Cotten, Alida Valli, Trevor Howard, Ernst Deutsch, and Paul Hoerbiger The mystery: Holly Martins (Cotten), an American novelist, moves to postwar Vienna to work for his friend Harry Lime, just to discover that Lime has died. He sets out to discover what happened to Lime, questioning the people in his late friend's life, including his girl Anna (Valli). 'The Maltese Falcon' (1954) WATCH IT Starring: Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, and Sydney Greenstreet. The mystery: Detective Sam Spade (Bogart) takes on a case that turns out to be more than he bargained for when his partner ends up murdered. Sam is threatened and told he must find the valuable statue at the center of the crime spree. 'Diabolique' (1955) WATCH IT Starring: Simone Signoret, Véra Clouzot, Paul Meurisse, and Charles Vanel. The mystery: An inspiration for Psycho, this film starts with two women at their wits' end: One, the wife of an abusive husband, the other, his mistress. Their conspired plot to do away with him goes horribly awry—the body disappears, and the women are tormented by eerie, seemingly otherworldly hauntings. The true victim, what happened, and why: It all builds to an ending you won't see coming. 'Laura' (1944) WATCH IT Starring: Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price, and Judith Anderson. The mystery: Named one of the top murder-mysteries of all time by the AFI, this hauntingly gorgeous noir film centers around the murder of ad exec Laura. As the detective (Andrews) gets close to the people in her life, he becomes obsessed with the dead woman's story. The story still holds up 75 years later. 'Rear Window' (1954) WATCH IT Starring: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. The mystery: A newspaper photographer with a broken leg passes the time during his recovery by observing his neighbors through his window. When he witnesses what he believes to be a murder, he goes to work solving the crime himself. By this point, Hitchcock is absolutely nailing the "murder mystery with a twist" genre. 'Murder on the Orient Express' (1974) WATCH IT Starring: Albert Finney, Lauren Bacall, Martin Balsam, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, Sean Connery, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, and Michael York. The mystery: If you liked the remake (or even if you didn't!) check out the original, which channels Agatha Christie's vision perfectly. A billionaire is murdered on a trip on the Orient Express while famed detective Hercule Poirot happens to be on board. He sets about trying to solve the mystery, with everyone in the car proving to be a suspect. Best Murder Mystery Movies With a Twist 'The Fugitive' (1993) WATCH IT Starring: Harrison Ford, Tommy Lee Jones, Sela Ward, Joe Pantoliano, Andreas Katsulas, and Jeroen Krabbé. The mystery: Harrison Ford's a doctor wrongly convicted for murdering his wife—so, as you do, he escapes and sets out to investigate the crime himself. Tommy Lee Jones is the U.S. Marshall who comes after him, reluctantly starting to realize the man he's chasing might be innocent after all. It's not the typical "10 people in a room—figure out who the killer is" story, but the modified format works incredibly well. Having the man convicted of the crime investigate the crime is a brilliant framework, and Ford carries it off perfectly. 'Seven' (1995) WATCH IT Starring: Brad Pitt, Morgan Freeman, Gwyneth Paltrow, John C. McGinley, and Kevin Spacey. The mystery: A serial killer starts a seven deadly sins-themed murder spree, and two detectives (Freeman and Pitt) have to try to solve the case before he strikes again. The film's now known for a few key scenes, but the plot's underrated and very tense. Watch out if you're squeamish, though. 'Memento' (2000) WATCH IT Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, and Jorja Fox. The mystery: This film, Christopher Nolan's early smash hit, is most well-known for the fact that it plays in reverse order. But core to the conceit is the central question: "Who killed Leonard's (Pearce) wife? And will he get revenge?" The stakes matter, and the twists, plural, are as shocking as they come. 'Us' (2019) WATCH IT Starring: Lupita Nyong'o, Winston Duke, Elisabeth Moss, and Tim Heidecker. The mystery: Jordan Peele's super-successful followup to Get Out is not so much about the WHOdunnit but the WHYdunnit. Evil doppelgangers come to kill, well, everyone—and it's not clear where they've come from and what their motivations are. It's eerie and twisty and has a few unexpected twists, so don't ruin the mystery for yourself and go watch. 'A Simple Favor' (2018) WATCH IT Starring: Anna Kendrick, Blake Lively, Henry Golding, Andrew Rannells, Linda Cardellini, Rupert Friend, and Jean Smart. The mystery: Two moms become friends, then one goes missing. The hunt to figure out what's happened (and who the woman really is) begins. No spoilers on who dies—yes, it's included on a murder mystery list for a reason—or why the mystery's so compelling. But just trust me on this one: It's actually kind of brilliant. And, guys, Blake Lively is really funny (and so is the film, contrary to what the trailer might make you believe). Don't sleep on this one. 'The Girl on the Train' (2016) WATCH IT Starring: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Édgar Ramírez, and Lisa Kudrow The mystery: Alcoholic Rachel aimlessly rides the train to the city from the suburbs every day after losing her job and her marriage. One day Rachel gets off the train and, after a confrontation, wakes up covered in blood and learns that a woman has disappeared. Can she trust her unreliable memory? 'Zodiac' (2007) WATCH IT Starring: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, Brian Cox, Charles Fleischer, Zach Grenier, Philip Baker Hall, Elias Koteas, James LeGros, Donal Logue, John Carroll Lynch, Dermot Mulroney, Candy Clark, and Chloë Sevigny. The mystery: Director David Fincher's 2007 film took on the still officially unsolved murders of the Zodiac Killer. The film is long and complex, but doesn't feel it. If the lack of closure makes you wary of seeing it, don't let that deter you. This film's as riveting as it gets. 'The Night Clerk' (2020) WATCH IT Starring: Tye Sheridan, Ana de Armas, Helen Hunt, and John Leguizamo. The mystery: Bart, a young hotel night clerk with Asperger Syndrome (Sheridan) becomes the prime suspect in a murder of a hotel guest. While police race to make an arrest, Bart must protect another guest (de Armas) from a similar fate. 'The Black Dahlia' (2006) WATCH IT Starring: Josh Hartnett, Mia Kirshner, Aaron Eckhart, Hilary Swank, Mike Starr, Patrick Fischler, and James Otis. The mystery: The murder of rising actress Elizabeth Short is still one of the greatest unsolved mysteries of our time. In this film adaptation, Josh Hartnett plays a detective desperate to uncover the truth. 'Primal Fear' (1996) WATCH IT Starring: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alfre Woodard, and Frances McDormand. The mystery: When the Archbishop of Chicago is murdered, a media-hungry attorney takes on the case, defending the alter boy who is the prime suspect in the case. Norton (only 27 at the time and in his film debut) gives a star-making performance as a young man who's more than meets the eye. 'The Girl With the Dragon Tattoo' (2011) WATCH IT Starring: Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgård, Steven Berkoff, Robin Wright, Yorick van Wageningen, and Joely Richardson. The mystery: A disgraced financial reporter and a genius hacker team up to investigate a 40-year-old murder case. Fair warning: it gets violent, including sexual violence throughout. But if you've got the stomach for it, this remake and book adaptation channels the depth and horror of the subject matter. 'Bad Times at the El Royale' (2018) WATCH IT Starring: Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, and Chris Hemsworth. The mystery: In 1959, a man arrives at the El Royale, a hotel on the border between California and Nevada, and hides a bag of money beneath the floorboards of one of the rooms—only to be killed immediately after. Ten years later, a group of strangers arrive at the hotel, each with secrets and mysterious motives of their own. Delightfully star-studded and twisty, it's a modern take on a Clue-type story. 'Happy Death Day' (2017) WATCH IT Starring: Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews, and Charles Aitken. The mystery: Is this a traditional murder mystery setup? Absolutely not. Is it a great mystery movie? You bet. In a Groundhog Day-like scenario, Tree (Rothe) is seeking out a murder. The victim? Tree. Every morning she goes in search of her murderer, trying to beat the clock and survive to tomorrow. I'd argue the premise makes the whodunit even more interesting. 'Brick' (2005) WATCH IT Starring: Joseph Gordon-Levitt, Lukas Haas, Emilie de Ravin, and Nora Zehetner. The mystery: It's a neo-noir starring high schoolers, and an absolute cult classic. Rian Johnson pre-Knives Out takes us into the murder of Emily (de Ravin), and the search to determine what happened to her and why. It's basically like Chinatown but with teenagers. ‘The Pale Blue Eye’ (2022) WATCH IT Starring: Christian Bale, Harry Melling, Gillian Anderson, Lucy Boynton, Charlotte Gainsbourg, Toby Jones, Harry Lawtey, Simon McBurney, Timothy Spall, and Robert Duvall. The mystery: Set in 1830 and based on the novel by Louis Bayard, The Pale Blue Eye sees a retired detective (Bale) secretly enlist Edgar Allan Poe (Melling) for help in solving the mystery of who killed a young cadet at the U.S. Military Academy. While you’re working to unravel the tangled threads behind the crime, be sure to keep an eye out for Senator John Fetterman, who made an uncredited cameo in the film after Bale noticed his “face that fits in the 1830s.” (They met while Bale was filming another movie in Fetterman’s native Pennsylvania a decade ago.) ‘The Woman in the Window’ (2021) WATCH IT Starring: Amy Adams, Gary Oldman, Anthony Mackie, Fred Hechinger, Wyatt Russell, Brian Tyree Henry, Julianne Moore, Jennifer Jason Leigh, and Tracy Letts. The mystery: Based on the book by A.J. Finn, this is another of those twisty-turny tales told by an unreliable female narrator. The titular woman in the window is Anna Fox (Adams), an agoraphobic woman who’s prone to watching the comings and goings of her neighbors, Rear Window style, and to experiencing hallucinations. So when she witnesses a murder in the house across the street and the police don’t believe her account, it takes a while to parse out who’s telling the truth, and even longer before the full story becomes clear. Best Comedy Murder Mystery Movies 'The Lovebirds' (2020) WATCH IT Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, and Jorja Fox. The mystery: This film, Christopher Nolan's early smash hit, is most well-known for the fact that it plays in reverse order. But core to the conceit is the central question: "Who killed Leonard's (Pearce) wife? And will he get revenge?" The stakes matter, and the twists, plural, are as shocking as they come. 'Knives Out' (2019) WATCH IT Starring: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, LaKeith Stanfield, Christopher Plummer, and Katherine Langford. The mystery: Harlan Thrombey, famous author and aging patriarch of a needy, pissed off family, dies by suicide. Or does he? Detective Benoit Blanc (Craig) is hired to investigate but absolutely everyone in this family has a motive. As the story unwinds, the plot takes...let's call it an unusual turn that actually, truly, pays off. This is a terrific example of a modern spin on the classic genre. Rian Johnson really gets the murder-mystery. 'Get Out' (2017) WATCH IT Starring: Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones, Marcus Henderson, LaKeith Stanfield, and Lil Rel Howery. The mystery: This would probably be categorized first as a horror film, and second as a murder mystery. But the twist is as compelling as any on this list. Chris (Kaluuya) goes to meet his girlfriend's (Williams) parents but their ensuing behavior seems bizarre. Then things get so much scarier. The questions that the film poses about racism, privilege, and classism are terrifying—and the answers they provide, including what happens to the man kidnapped in the first scene, are even more so. If you've watched this as a horror flick, watch it again for the mystery. 'Scream' (1996) WATCH IT Starring: David Arquette, Neve Campbell, Courteney Cox, Matthew Lillard, Rose McGowan, Skeet Ulrich, and Drew Barrymore. The mystery: Speaking of horror movies secretly channeling murder-mysteries, this classic is a meta-slasher film combined with a whodunit that asks, "Who's the terrifying Ghostface?" Besides, that iconic first scene with Drew Barrymore is one of the finest bait-and-switches in movie history (spoilers at that link) and the perfect setup to what follows. 'Kiss Kiss Bang Bang' (2005) WATCH IT Starring: Robert Downey Jr., Val Kilmer, Michelle Monaghan, and Corbin Bernsen. The mystery: Harry Lockhart (Downey Jr.) is a thief who gets mistaken for an actor. He's subsequently thrown into the glamorous, murder-y world of Hollywood, complete with a mystery involving his childhood crush. Director Shane Black (Lethal Weapon, Iron Man 3) somehow manages to make all of that funny and heralded the triumphant return of Downey Jr. as one of the best actors of our time. 'Game Night' (2018) WATCH IT Starring: Jason Bateman, Rachel McAdams, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall, and Kyle Chandler. The mystery: Ok, so technically this doesn't start as a murder mystery so much as a kidnapping whodunit: Max (Bateman) and Annie (McAdams) are pros at game night—then Max's brother Brooks (Chandler) hosts an "immersive" mystery game that immediately goes horribly, hilariously wrong. The couple and their friends must figure out what's real and what's not, and the film pulls out the rug from under us in spectacular fashion. Whodunnits are rarely funny, but boy this one is. 'Fargo' (1996) WATCH IT Starring: Frances McDormand, William H. Macy, Steve Buscemi, Peter Stormare, and Harve Presnell. The mystery: Same deal here, only way darker—what starts out as a simple kidnapping ends in murder. We the audience get early insight into who dies and why, but the joy of the movie is Marge frickin' Gunderson (McDormand), who uses her brains and creativity to track down the killers. It's a blacker-than-black comedy, too. 'The Nice Guys' (2016) WATCH IT Starring: Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Keith David, and Kim Basinger. The mystery: Remember how we mentioned our love for Kiss Kiss Bang Bang? Shane Black came back with another witty, highly quotable '70s-era mystery. Two detectives, who initially can't stand each other, must team up to investigate a suspicious suicide—and find a vast, city-wide conspiracy instead. An homage to L.A. Confidential, both Crowe and Basinger are back in the genre and clearly enjoying themselves. The real treat, though, is watching Crowe and Gosling try to out-banter each other as the twists keep coming. 'Sherlock Holmes' (2009) WATCH IT Starring: Robert Downey Jr., Jude Law, Rachel McAdams, Mark Strong, and Eddie Marsan. The mystery: Sherlock Holmes is the original detective, and some of Arthur Conan Doyle's stories are the best whodunits out there. Many films have been made about the super-sleuth, but this one (directed by Guy Ritchie) gives it a much-needed shot of adrenaline. Ritualistic killings are going on in London, and it seems like the culprit's obvious. Then shit gets weird, and more bodies start piling up. (This one is far superior to the sequel.) 'Clue' (1985) WATCH IT Starring: Eileen Brennan, Tim Curry, Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, and Lesley Ann Warren. The mystery: This comedy, based on the iconic board game, follows a group of guests at a dinner party who all suspect each other when their host is murdered. It's one of the rare instances in which a game adaptation actually works, and the original theatrical release had multiple endings distributed randomly to audiences. (The version you'll watch will have all three, one after the other.) 'Gone Girl' (2014) WATCH IT Starring: Ben Affleck, Rosamund Pike, Neil Patrick Harris, and Tyler Perry. The mystery: A man (Affleck) is the prime suspect in his wife's disappearance and apparent murder, but things are definitely not what they seem. David Fincher really understands what made the book so powerful, and structuring it in a similar way means there are multiple jaw-dropping twists throughout the windy story, while keeping the pitch-black comedy element intact. 'Who Framed Roger Rabbit' (1988) WATCH IT Starring: Bob Hoskins, Christopher Lloyd, Charles Fleischer, Stubby Kaye, and Joanna Cassidy. The mystery: Not every murder mystery has to be super-serious, obviously. Who Framed Roger Rabbit is a family-friendly take on classic noirs. In it, a detective works to find out, well, who framed Roger Rabbit—and who really committed the murder the cartoon is accused of. The effects have aged a little, but the story's still a memorable one. 'Murder Mystery' WATCH IT Starring: Adam Sandler, Jennifer Aniston, Luke Evans, and Terence Stamp. The mystery: This spoofy Netflix special satirizes the murder mystery genre, but is also a really suspenseful (and funny!) itself. Sandler plays a NYC cop who takes his wife (Aniston) on a European vacation and the two find themselves entangled in a murder of a billionaire. Cue "dun dun dun." 'Haunted Mansion' WATCH IT Starring: Eddie Murphy, Terence Stamp, Nathaniel Parker, Marsha Thomason, Aree Davis, and Marc John Jefferies. The mystery: An oldie, but a goodie! On the way to a family vacation, an ambitious real estate agent (Murphy) stops at an old mansion he's hoping to sell. A storm forces the group to stay the night at the creepy mansion, with its eccentric owner. There, amidst supernatural happenings, the family begins to unravel the truth behind a decades-old murder. 'Godsford Park' WATCH IT Starring: Maggie Smith, Ryan Phillippe, Michael Gambon, Kristin Scott Thomas, Camilla Rutherford, Charles Dance, Tom Hollander, and Bob Balaban The mystery: The McCordle family, a group of 1930s aristocrats, and their guests converge on an English country estate for a hunting weekend. When one of the group. When the body of the patriarch, Sir William McCordle, is found and secrets are revealed, it turns out most of the guests have a motive to kill. ‘Glass Onion’ (2022) WATCH IT Starring: Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Kate Hudson, Dave Bautista, Madelyn Cline, and Jessica Henwick. The mystery: This standalone sequel to Knives Out recaptures so many of the things that made the first Benoit Blanc comedy-mystery so successful: an absolutely star-studded cast, pitch-perfect satirization of the rich, a gorgeous backdrop juxtaposed against shocking crimes, and, of course, Blanc’s scene-stealing Southern drawl. All the clues are perfectly visible throughout the film—see if you can beat the quietly calculating detective to the big reveal. ‘See How They Run’ (2022) WATCH IT Starring: Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Charlie Cooper, David Oyelowo, Tim Key, and Shirley Henderson.
6282	dbpedia	0	71	https://ocdviewer.com/tag/the-whistler/	en	The Whistler	https://secure.gravatar.com/blavatar/eae5acdd13ea6fd89ff50172fdbfe815145053a8bb43307ffe2073c0c7286436?s=200&ts=1723814469	https://secure.gravatar.com/blavatar/eae5acdd13ea6fd89ff50172fdbfe815145053a8bb43307ffe2073c0c7286436?s=200&ts=1723814469	[ "https://ocdviewer.com/wp-content/uploads/2012/06/the-return-of-the-whistler.jpg?w=610", "https://ocdviewer.com/wp-content/uploads/2011/03/the-thirteenth-hour.jpg?w=610", "https://ocdviewer.com/wp-content/uploads/2010/11/secret-of-the-whistler.jpg?w=610", "https://ocdviewer.com/wp-content/uploads/2010/06/mysterious-intruder.jpg?w=610", "https://ocdviewer.com/wp-content/uploads/2009/11/voice_of_the_whistler.jpg?w=610", "https://secure.gravatar.com/blavatar/eae5acdd13ea6fd89ff50172fdbfe815145053a8bb43307ffe2073c0c7286436?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/eae5acdd13ea6fd89ff50172fdbfe815145053a8bb43307ffe2073c0c7286436?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Adam Lounsbery" ]	null	Posts about The Whistler written by Adam Lounsbery	en	https://secure.gravatar.com/blavatar/eae5acdd13ea6fd89ff50172fdbfe815145053a8bb43307ffe2073c0c7286436?s=32	OCD Viewer	https://ocdviewer.com/tag/the-whistler/	The Return of the Whistler (1948) Directed by D. Ross Lederman Columbia Pictures The Return of the Whistler was the final entry in the Columbia Pictures series based on the CBS radio show. It’s the only Whistler film that doesn’t star Richard Dix, who was in poor health when it was made (he died on September 20, 1949, at the age of 56). Not only were the Whistler films excellent B-movie programmers, they were remarkably faithful to their source material. Just like the radio show, The Return of the Whistler begins with the eerie whistled theme music. The camera tracks the shadow of a walking man as he narrates in voiceover: I am the Whistler, and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. Michael Duane and Lenore Aubert star as Ted Nichols and his fiancée Alice, who — when the film begins — are driving through a dark and story night to be married by a justice of the peace. Alice is a Frenchwoman, and Ted has only known her for two weeks. He found her under mysterious circumstances, limping through the woods near his summer cabin, running away from someone or something. There’s a lot about her past that he doesn’t know, but he does know one thing — he loves her more than anything in the world. Naturally, things don’t go according to plan. First their car breaks down, then they discover that the justice of the peace is out of town, trapped by bad weather. Ted and Alice can’t stay in a hotel room together for the night because they aren’t legally married yet, so Ted leaves Alice at the hotel alone and walks to a nearby garage to have his car fixed. The shadow of the Whistler follows him. This isn’t just the way you’d planned your honeymoon is it, Ted? But don’t be too unhappy, it’s only a few more hours before you and Alice will be united forever. Like most things the Whistler says, those words drip with sardonic irony, because when Ted returns to the hotel the next morning Alice is gone, and the cranky night clerk (played by Olin Howland) claims not to know anything. The Return of the Whistler is a fine capper to the series. The pacing is excellent and the actors all turn in solid performances. The mystery of what happened to Alice isn’t attenuated unnecessarily, and the movie is more suspenseful because of it, getting us involved in her predicament and Ted’s desperate fight to find out what’s going on before it’s too late. The Return of the Whistler was directed by D. Ross Lederman, produced by Rudolph C. Flothow, and written by Edward Bock and Maurice Tombragel, based on a story by Cornell Woolrich. There are currently a few uploads of The Return of the Whistler on YouTube. You can watch one of them below: The Thirteenth Hour (1947) Directed by William Clemens Columbia Pictures Let us bid adieu to Richard Dix. His role in William Clemens’s The Thirteenth Hour was his last. Dix’s health was in decline when he was starring in the series of B movies based on the radio show The Whistler. After appearing in The Thirteenth Hour, the seventh in the series, Dix retired from acting. He died a couple of years later, at the age of 56, on September 20, 1949, following a heart attack he’d suffered a week earlier. (There would be one last Whistler movie, The Return of the Whistler, in 1948, starring Michael Duane.) When asked about his role in The Thirteenth Hour, Dix said, “The part is more dramatic than the ones I used to do at Goldwyn’s and Paramount. Then, I played devil-may-care, brassy boys who were strong on wisecracks, and back in some of those early films I made the jokes via printed titles.” His mention of printed titles is a reference to his early days in Hollywood, when the movies were still silent. Dix had a 30 year-long career, and was one of the first “he-men” of the silver screen; a rugged, square-jawed presence who loomed larger than life. His Whistler films aren’t the best of his career, but they’re nothing to be ashamed of, either. Unlike most of the formulaic, single-character mystery series of the ’40s (e.g., Boston Blackie, the Falcon, the Crime Doctor, Charlie Chan), Dix played a different role in each Whistler film, from the nastiest bad guys to the most well-intentioned good guys. In The Thirteenth Hour, he plays a regular Joe named Steve Reynolds, a truck driver who operates his own trucking firm. He’s engaged to a roadhouse waitress named Eileen (Karen Morley), who has a young son named Tommy (Mark Dennis). After a hot-rodding drunk runs Steve off the road one night and straight into an old man’s gas station, his license is revoked for six months. The accident wasn’t Steve’s fault, but a disappearing witness and a motorcycle cop named Don Parker (Regis Toomey), who has a vendetta against Steve, conspire against him. To make matters worse, Steve has a competitor, Jerry Mason (Jim Bannon), an underworld character who’s undercutting Steve and is determined to run him out of business. Finally, the night comes when Steve’s mechanic and driver Charlie (John Kellogg) is too sick to work, and Steve has no choice but to deliver a shipment himself. His license hasn’t been reinstated yet, so the decision could have terrible consequences. He starts out in the wee hours of the morning and sticks to back roads, but of course, something goes wrong. When he stops to service his truck, he’s knocked out by a masked man. The mysterious figure not only absconds with Steve’s truck, but he uses it to run over and kill a cop. Steve goes on the lam and attempts to prove his innocence with the help of Charlie, Eileen, and Tommy. (There’s one weird, funny moment when the cops bust in on Eileen and Tommy right after Steve has slipped out the back. Tommy sits in a living room chair, looking innocent, reading a book. The detective peers at him suspiciously, and the camera zooms in on the book’s title — Studies in Necrophobia.) If you’ve awake for most of the movie, you’ll have no trouble figuring out exactly who the killer is before Steve finds out. Even so, The Thirteenth Hour is a well-made, brisk mystery that packs plenty of excitement into its barely one-hour running time. The presence of the Whistler (an uncredited Otto Forrest) is less obtrusive than in some of the series’ entries, but he still sets the stage nicely, just as he did on his weekly radio show, which told the stories of “men and women who have stepped into the shadows.” Secret of the Whistler (1946) Directed by George Sherman Columbia Pictures George Sherman’s Secret of the Whistler is a solid but unremarkable entry in Columbia Pictures’ series of bottom-of-the-bill programmers based on the radio show The Whistler. Each film in the series starred Richard Dix, a he-man of the silent era whose star was fading. Dix delivered sweaty, paranoid performances in a variety of roles in The Whistler series; businessman, drifter, private investigator, homicidal maniac. His health may have been failing, but he was still a solid performer. In Secret of the Whistler he plays a painter named Ralph Harrison who is living the high life on his wealthy wife’s dime. He throws lavish parties in his studio/bachelor pad for people who aren’t really his friends, but who don’t mind eating his food and drinking his booze. Among the many attractive young women who pose for Harrison for big money is Kay Morrell (Leslie Brooks), a beautiful blonde with gams that won’t quit. Meanwhile, Harrison’s wife, Edith Marie Harrison (Mary Currier), lies in bed at home, at death’s door. When the film begins, Harrison seems to genuinely care for his ailing wife, and she adores him. Slowly but surely, however, Harrison begins to fall for Kay. (And after the scene in which she poses for him wearing a small one-piece undergarment, I thought to myself, “Who wouldn’t?”) He buys her expensive presents and lavishes her with attention. His wife isn’t long for this world, so what’s the harm? The only problem is that Mrs. Harrison comes under the care of a specialist, and makes a miraculous recovery. (Her cardiologist’s course of therapy seems to mostly involve getting out of bed and taking long walks, which is still good advice today.) When she drops by her husband’s studio unannounced, however, her excitement turns to horror when she overhears her husband pitching woo to Kay. She suffers a major setback and promises to write Ralph out of her will. Fans of The Whistler radio show will have no trouble predicting what will happen next, or the panoply of complications that will arise. True to the radio show, the Whistler himself shows up several times in the film, always as a dark silhouette or a shadow thrown on a wall, speaking directly to Harrison and revealing his murderous thoughts. The screenplay for Secret of the Whistler by Richard H. Landau and Raymond L. Schrock is the most thematically similar to the radio show of all the films in the series I’ve seen so far. If murdering your wife was your thing, The Whistler was the best show on the air. Nearly every week it seemed as if someone’s spouse was being bumped off for an inheritance and a chance at life with a younger boyfriend or girlfriend, although things never went according to plan. With a little more than double the running time of a typical episode of the radio show, Secret of the Whistler has more time to develop its characters and its story. On the radio, there just wouldn’t be enough time to show Ralph’s tepid devotion slowly changing to disinterest. At the same time, though, the film feels a little longer than its 65-minute running time, and while its twist ending is good, it doesn’t have the devious ingenuity of the best twists of the radio show. Still, this is a really good mystery series, with heavy doses of noir atmosphere and performances by Dix that are always interesting to watch. Secret of the Whistler is a lesser entry in the series, but it’s still a pretty good one. Mysterious Intruder (1946) Directed by William Castle Columbia Pictures “I may not be the greatest detective in the world … but I am the most unusual.” So says Don Gale, the shady private investigator played by Richard Dix in William Castle’s Mysterious Intruder, the fifth entry in Columbia’s mystery series The Whistler. Based on the CBS radio show of the same name, each film in the series featured Dix in the lead role, but unlike other B mystery series of the ’30s and ’40s, like Charlie Chan, The Falcon, Boston Blackie, Michael Shayne, and the Crime Doctor, Dix played a different character in each. The Whistler, who narrated the radio show but never participated directly in the events of the story, made similar appearances in the film series, walking in the shadows, whistling the haunting 13-note theme music by Wilbur Hatch, and occasionally offering a pithy analysis of the trouble the characters were in. The anthology format and Dix’s strange, arresting performances made The Whistler one of the more interesting series of its time. In Mysterious Intruder, Gale is an oily operator who employs a “photographic model” named Freda Hanson (Helen Mowery) for dirty work. He also has a secretary named Joan (Nina Vale) who hates him. Clearly motivated by money, Gale walks the narrow line between self-interest and outright villainy. He’s an interesting character to watch, since his intentions remain shadowy right up to the end of the picture. This being a B-level programmer, we’re not treated to a deep character study, but Dix is a good enough performer to make Mysterious Intruder worth watching. When the film begins, Gale is in his office, which has a spectacular view of the city and looks as if it should be home to the most expensive lawyer in town, not a small-time bedroom snooper. He’s visited by Edward Stillwell (Paul Burns), a kindly old music store owner who wishes to track down a young woman whom he hasn’t seen since she was 14, seven years ago. Her name is Elora Lund, and he has something he wants to give her. One hundred dollars is all Stillwell can afford to pay, which isn’t enough to pique Gale’s interest, but he changes his mind when Stillwell tells him that Elora Lund will pay any amount for bringing them together. Three days pass, and Stillwell receives a visitor in his shop. She’s a tall, attractive blonde, and she convinces Stillwell that she is Elora Lund. (She’s actually Freda Hanson, Gale’s blackmail tool.) Stillwell tells “Elora” that among the countless odds and ends that her late mother brought in for him to sell was one item that will bring a fortune if sold. Unbeknownst to Freda, however, she was tailed to the store by a hulking thug named Pontos, played by dependable character actor Mike Mazurki. (Mazurki is always a welcome sight, but he doesn’t have a lot to do in this picture. It’s not too different from the role he played in Dick Tracy; a vicious killer with few to no lines.) Pontos murders Stillwell, and Freda screams and flees the scene. Meanwhile, we learn that the real Elora Lund (Pamela Blake) is in a sanitarium, recovering from the effects of an auto accident. She’s appears to be uninjured physically, and why she wasn’t recuperating at home is never explained. Ah, the good old days of “rest cures.” Before he became the premier schlockmeister of the ’50s and the most famous “gimmick” director in Hollywood, William Castle was a dependable director of one-hour programmers, including several Whistler and Crime Doctor pictures. Mysterious Intruder is a tight, entertaining ride that features plenty of twists and turns, as well as one of my favorite plot conceits, the private dick who constantly contaminates crime scenes and tampers with evidence for his own purposes, all while staying one step ahead of the police. Voice of the Whistler (1945) Directed by William Castle Columbia Pictures The Whistler, which was first heard on the Columbia Broadcasting System on May 16, 1942, ran for more than 13 years and was one of the best mystery and suspense programs on the radio. It didn’t feature the well-known Hollywood stars of Suspense (also broadcast on CBS), but its scripts were some of the most clever and intriguing that old-time radio had to offer, and its final twists were always satisfying, whether or not you saw them coming. The program was hosted by a mysterious character embodied only by the sounds of footsteps and an eerie, whistled theme song. Each program began the same way, with the narrator saying, “I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak.” There were no recurring characters, but the situations were fairly similar from week to week. Greedy or vengeful people driven by dark impulses endeavored to commit perfect crimes, but were undone by a single overlooked detail or their own overreaching. Quite often, each story would contain more twists than just the one at the end. For instance, one program from October 1945 told the story of a man who killed his underworld partner and got away with it. He always wanted to reveal to the police the details of his clever scheme, but of course could not do so and remain a free man. After inadvertently faking his own death when a drifter steals his car and identification, crashes, dies, and is believed to be him, he changes his name and moves out of town. He then writes a mocking letter to the authorities laying out all the details of how he got away with murder. Immediately after mailing it, he hears on the radio that the police have determined that the body in the car wasn’t him after all, so he goes on a furious chase through the state in an attempt to retrieve the letter. He eventually attracts the attention of the police for tampering with the mail and is caught and confesses, only to find out at the end of the program that his letter was returned to his boarding house because it had incorrect postage. Like Inner Sanctum Mysteries (another popular CBS suspense program), The Whistler was adapted as a series of B movies after it had been on the air for a couple of years. Starting with The Whistler (1944), which was directed by William Castle, the series continued with The Mark of the Whistler (1944), also directed by Castle, and The Power of the Whistler (1945), which was directed by Lew Landers. Each film starred Richard Dix, although he played a different role in each. The films did a great job of capturing the essence of the radio show. The Whistler was seen only in the shadows, just a man in a coat and a hat haunting alleyways and the dark parts of the city at night. Like the radio show, the Whistler’s voiceover often addressed the characters in the story, speaking in the second person, although he never interacted with them directly. (A typical bit might go, “You’ve really done it now, haven’t you? If you leave, they’ll see you, but if stay here, you’ll perish along with your victim. What are you going to do, George? What are you going to do?”) Voice of the Whistler, which was directed by William Castle and written by Wilfred H. Petitt and Castle, working from a story by Allan Radar, tells the sad story of a successful industrialist named John Sinclair (Dix), whose fabulous wealth failed to provide him with either friends or health. After a breakdown, Sinclair changes his name to “John Carter” and goes away to lose himself. He sees a doctor who advises him to go to the sea coast, get some fresh air, a job, and enjoy himself. “And above everything, try to make friends,” the doctor tells him. “And never forget, Mr. Carter, that loneliness is a disease that can destroy a man’s mind.” Sinclair moves to the coast of Maine and takes up residence in a lighthouse that has been converted into a private dwelling. Believing he doesn’t have long to live, he convinces a beautiful young nurse named Joan Martin (Lynn Merrick) to marry him. In exchange for her companionship during his last months, she will inherit all of his wealth. Although Joan is in love with a handsome young intern named Fred Graham (James Cardwell), they have been engaged for four years, and have no plans to be married until Fred can make enough money. Against Fred’s protests, Joan marries John, partly because she likes him and pities him, but mostly because his money can give her and Fred the life they’ve always wanted. After John and Joan have been married and living in the lighthouse with their jovial friend Ernie Sparrow (Rhys Williams) for several months, John’s health dramatically improves, and it looks as if Joan might have trouble collecting on their bargain. Meanwhile, John falls more and more in love with her. Eventually Fred shows up for a friendly visit that will have murderous consequences. Richard Dix, a Hollywood star since the silent era, is great in each Whistler film I’ve seen him in so far. His glory days were behind him, but he was still a fine actor, and was equally adept at playing sympathetic protagonists and villains.
6282	dbpedia	1	4	https://immortalephemera.com/22781/the-whistler-series-richard-dix/	en	8 Questions for Author Dan Van Neste About The Whistler Film Series	https://immortalephemera…-richard-dix.jpg	https://immortalephemera…-richard-dix.jpg	[ "https://immortalephemera.com/wp-content/uploads/2015/12/ht-now-available-border.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1927-amalgamated-richard-dix.jpg", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=ur2&o=1", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=as2&o=1&a=1593934025", "https://immortalephemera.com/wp-content/uploads/2012/09/the-whistler-by-dan-van-neste-280.jpg", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=as2&o=1&a=1593934025", "https://immortalephemera.com/wp-content/uploads/2012/09/the-whistler-1.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1936-gp-sots-richard-dix.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1936-nestle-richard-dix.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/michael-duane.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1920s-exhibit-dix-lois-wilson-vanishing.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1936-carreras-richard-dix.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1927-african-richard-dix.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1920s-fan-photo-richard-dix-4.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1934-carreras-richard-dix.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/richard-dix-mysterious-intruder-1946.jpg", "https://immortalephemera.com/wp-content/uploads/2012/09/1934-cracker-jack-richard-dix.jpg", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=ur2&o=1", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=as2&o=1&a=1593934025", "https://immortalephemera.com/wp-content/uploads/2012/09/dan-van-neste.jpg", "https://www.assoc-amazon.com/e/ir?t=thingsandothe-20&l=as2&o=1&a=1593934025", "https://immortalephemera.com/wp-content/gallery/1936-r95-linen-premiums/dix-richard-yellow-dust.jpg", "https://assets.pinterest.com/images/pidgets/pinit_fg_en_rect_gray_20.png", "https://secure.gravatar.com/avatar/41914fbf5501cdbad476238fb45d8b13?s=65&r=g", "https://secure.gravatar.com/avatar/4843ec9537a11f3037fb2a4a0a16895d?s=48&r=g", "https://secure.gravatar.com/avatar/01050b8b71e474a6d638c8356e19f2cb?s=48&r=g", "https://secure.gravatar.com/avatar/67e94e711b7d86e489ba7cd4b051755c?s=48&r=g", "https://secure.gravatar.com/avatar/01050b8b71e474a6d638c8356e19f2cb?s=48&r=g" ]	[ "https://www.youtube.com/embed/2jXrN48IUd0?rel=0" ]	[]	[ "the whistler", "whistler film series", "columbia whistler", "richard dix", "richard dix the whistler", "dan van neste", "the whistler stepping into the shadows" ]	null	[ "Cliff Aliperti", "Grand Old Movies says", "Cliff Aliperti says", "R.A. Kerr says" ]	2012-09-05T04:19:20+00:00	Dan Van Neste, author of The Whistler: Stepping Into the Shadows, answers 8 questions about The Whistler film series starring Richard Dix.	en	https://immortalephemera…e_icon-32x32.png	Immortal Ephemera	https://immortalephemera.com/22781/the-whistler-series-richard-dix/	Introduction So did you catch The Whistler (1944) on TCM last Saturday morning? It's the latest in TCM's series of series entries to fill that Saturday am time slot. If you've gotten a kick out of other Columbia series such as The Lone Wolf, The Crime Doctor or Boston Blackie then there's a good chance that The Whistler is going to be for you too! I'm new to this series myself, having just caught the initial entry for the first time last week. But as I've become a fan of the other series mentioned above and have always been a fan of Richard Dix, the actor who stars in seven of the eight Whistler entries, I really wanted to post something about The Whistler on the site. Luckily, I knew a guy. Not just any guy, but Dan Van Neste , author of The Whistler: Stepping Into the Shadows. Not a bad way to go when seeking out info about The Whistler, ay? I met Dan via Facebook where we initially spent several days discussing the wonderful Claire Dodd, whom Dan had published an article about in Films of the Golden Age magazine. Dan's article about Miss Dodd was so splendid that it has delayed me from posting anything on this site--after all, half of the fun for me is learning about the old stars, Dan didn't seem to leave me much wiggle room. In the space of several magazine pages he sketched an economical biography which answered all of my own questions. So when I opened up my TCM Now Playing guide not very long ago to prepare my September preview and realized that The Whistler was coming, it was pretty obvious what I had to do! I was curious about The Whistler as I assume you are now curious about the series as well. Following are my brief questions, asked prior to first viewing The Whistler, followed by Dan's detailed answers. For more about The Whistler please pick up a copy of The Whistler: Stepping Into the Shadows by Dan Van Neste with foreword by Robert Dix, son of Whistler star Richard Dix. An Interview with Dan Van Neste Q: Thanks again for helping us out with The Whistler on such short notice, Dan. First of all, could you tell us a little about the background of the series? Dan Van Neste: The first Whistler movie was not made until 1944, but the story of The Whistler on film began with a pair of ax murders on the U. S. west coast two years earlier. The date was May 16, 1942. The grisly crimes were not real but part of a spine tingling radio script written for a new suspense program called, “The Whistler” on the CBS Network. An anthology sponsored by The Signal Oil Company, the debut broadcast was an overnight sensation, the first of 692 west coast & 77 east coast episodes of one of the most successful and longest running (1942-55) radio programs of all time! The debut broadcast resembled all which followed. It began with a hauntingly discordant 13 note whistle, and an eerie, other worldly voice saying, “I am the Whistler and I know many things for I walk by night . . .” Each episode involved individuals who wander outside the boundaries of law, propriety, and morality to achieve an unsavory objective. Just when it appears as if they will succeed each is ironically undone by their own greed, avarice, stupidity, and/or the hand of fate guided by the sinister Whistler character who like a Greek chorus narrates his tales, comments on the proceedings, and metes out punishment with vindictive delight. The initial story entitled, “Retribution” was a tale of revenge and murder involving an evil man who hacked up his wife and stepson in order to lay claim to their money. His escape from prison and attempt to retrieve cash hidden in the old house he shared with his victims leads him to a ghastly fate overseen by The Whistler. It didn’t take long for the immense popularity of The Whistler program to come to the attention of Columbia Pictures’ head, Harry Cohn. Cohn was looking for an idea for a new series to replace Ellery Queen which had ceased production in 1942. In 1943 Cohn purchased the film rights to The Whistler; and he and producer Rudolph Flothow began preparations to make a motion picture version of the popular radio show. In order to ensure success they opted to closely adhere to the main elements of the program. They hired Whistler creator/writer J. Donald Wilson to provide a story and oversee the first film, secured the services of veteran actor Richard Dix to star, and young dynamic William Castle to direct. The first picture simply titled, The Whistler was released in March, 1944. It’s surprising success with audiences and elite critics guaranteed there would me more Whistler films to follow. In fact just four months later Cohn was already busy producing a follow-up picture, thus giving birth to one of the most unique, and influential series in B movie history. Interlude With that background from Dan, now seems a good time to share this trailer created by Dan's publisher, BearManor Media, for The Whistler: Stepping Into the Shadows: More About The Whistler With Dan Q: I’m a big fan of the Lone Wolf movies and recently immersed myself in the Crime Doctor series, but The Whistler is entirely new to me. What, if anything, makes the series different from some of the other Columbia crime series released during this period? Dan Van Neste: Although The Whistler films resembled Columbia’s other B crime/mystery series in many respects they were distinct. Certainly one of the key differences was the anthology format. With the exception of the title character (who essentially functions as a spooky narrator), each Whistler film contained completely different characters. Another distinction was the protagonists. While The Crime Doctor, The Lone Wolf, and Boston Blackie had their faults and run-ins with the law, they were essentially heroic. Not so with many of the protagonists of the Whistler films. In fact several were out and out villains whose punishment was death. Another main difference was contained in the stories. Unlike the other series, from the outset of each Whistler film audiences knew who the culprit was. The mystery was how he would be caught, and justice served. I could go on and on. Suffice it to say The Whistler series was unique in many ways. Q: How many films were in the series? Was Richard Dix always the star and did each entry have anything to do with the others? Dan Van Neste: There were eight Whistler pictures in all, two per year (1944-46), then one in 1947, and 1948. Dix starred in seven of the eight. After filming was complete on the seventh entry, The Thirteenth Hour (in October, 1946), he was forced to retire from acting due to deteriorating health. He died three years later in 1949. Dix was eventually replaced by young Columbia contract player Michael Duane, who starred in the last film, The Return of the Whistler (1948). The eight movies had multiple common elements. Each contained The Whistler character, each was a ‘crime does not pay’ morality tale with an ironic ending. All had noir elements, memorable performances, etc., etc. Q: Richard Dix had been around for a long time. He was a star in silent films and made a hit in the talkie, Cimarron. While I’m a fan of most of his early 1930’s work Dix seemed to decline in popularity as the years rolled by. Did The Whistler series do anything to revitalize his career? Dan Van Neste: Dix was a major star of silent films and the early talkie period. His bravura performance as bigger-than-life Yancy Cravat in RKO’s Oscar winning western adventure Cimarron (1931) was the highlight of a career which encompassed 4 decades, over 100 motion pictures, and many peaks and valleys. Dix was experiencing one of the valleys when he made Cimarron which earned him an Oscar nomination but turned out to be a double-edged sword. It boosted his career; but after its release he became forever associated with the western/action adventure genre. He gradually drifted into B movies in the latter 1930’s; and was very unhappy with the type of film roles he was playing by the early 1940‘s. To break free he accepted the part of a psychotic sea captain in Val Lewton's creepy melodrama, The Ghost Ship (1943). His performance in an overtly villainous role surprised and impressed many including Harry Cohn who offered him the lead in the first Whistler film, then signed him to a contract to do the series. Although the Whistlers were B movies made quickly and cheaply to fill the bottom half of a mandatory double bill, they were uncommonly well made, winning acclaim from elite critics. They certainly gave Richard Dix a chance to show his versatility as an actor; and he did not disappoint. If for no other reason, The Whistler films are worth watching for Dix’s exceptional lead performances which demonstrated once and for all what a fine, versatile actor he was. Robert Dix told me his dad was very proud of his work on the series and glad he signed on to star. Q: Were any other actors regularly featured in the The Whistler series? Did Columbia use it like it did the aforementioned series to introduce any new talent? Dan Van Neste: Outside of Richard Dix there was one who was regularly featured, an unknown actor by the name of Otto Forrest who portrayed the shadowy Whistler character in all the films. For some reason he remained uncredited through the entirety of the series. While I don’t believe there were any notables actually introduced in the Whistler films, the casts were loaded with gifted young actors and filmmakers who pooled their talents with seasoned veterans. Among them was young Michael Duane, who gave good performances in the sixth entry, The Secret of the Whistler (1946) and in the final film, The Return of the Whistler (1948); beautiful Leslie Brooks who left quite an impression as a golddigger in The Secret of the Whistler (1946); and William Castle who memorably directed four of the eight Whistler features. Among the veteran actors who contributed compelling performances were several striking leading ladies like Karen Morley, Gloria Stuart, Janis Carter, and Lynn Merrick, and many great character players such as J. Carrol Naish, Porter Hall, Kathleen Howard, Joan Woodbury, Regis Toomey, Trevor Bardette, Paul Guilfoyle, and Jeff Donnell. Q: Why did Columbia end the series? Dan Van Neste: There were many factors which combined to doom The Whistler series. Dix’s retirement from acting in 1947 was the first of several blows. His performances had always been the heart of the Whistler films, so his absence was sorely felt. Cohn briefly considered abandoning the series at that time but being the skinflint he was, changed his mind primarily because Columbia still owned the rights to the Whistler name and the films were still making money. Cohn initially selected veteran actor Otto Kruger as a replacement for Dix but switched to 33 year old Michael Duane after producer Rudy Flothow purchased the rights to film a Cornell Woolrich story about a young bridegroom’s search for his missing bride. The resulting film, The Return of the Whistler (1948), had redeeming qualities, contained excellent performances, and made a modest profit, but it disappointed many. This combined with the demise of the double bill, the decline of low budget program pictures, changing tastes, and the advent of television to sound the death knell for The Whistler films and many other series’ favorites including Charlie Chan, Boston Blackie, The Falcon, The Crime Doctor, The Lone Wolf, and even Blondie. By 1951 all had disappeared from the big screen. Q: What especially drew you to The Whistler? Dan Van Neste: I remember really enjoying The Whistler films when I first saw them on television when I was a kid, but to tell you the truth I almost didn’t write The Whistler: Stepping Into the Shadows. When I signed on to write a series book for BearManor Media, I had my pick. I initially selected another film series as my subject but changed my mind at the last minute when I began watching the Whistlers on Turner Classic Movies in 2008. I hadn’t seen them in years and had forgotten how atmospheric and unusual they were. They were program pictures with some of the familiar weaknesses of B’s, but still grabbed my attention and held it. In addition, they contained noir elements which I found fascinating. To me these 8 B movies are special; and I’m not alone. They have fans in many quarters. The legendary director Robert Wise called them, “examples of budget filmmaking at its very best”. Q: Tell us about your book, The Whistler: Stepping Into the Shadows. Dan Van Neste: It’s the culmination of three years of work. There were lots of frustrations along the way; but I’m glad I persevered. It’s actually three books in one. It is a companion to the series and tells readers anything and everything they want to know about the eight Whistler films, but also tells a detailed story of how movies like the Whistlers were made by Columbia. During the 1940’s Columbia Pictures was an incredible B movie factory which employed scores of talented, hardworking people who churned out low budget films at an astonishing pace. They didn’t receive Oscar statues and much if any encouragement; but to me they were heroes. The last half of the book is devoted to them. It contains profiles of 50 of these gifted, unsung actors, directors, writers, and craftsman who worked on the Whistler films (among many others). A highlight of the book is the lengthy, 32 page bio of Richard Dix which includes unique reminiscences from his actor son Robert who also wrote the book’s Foreword. Bob Dix tells me it’s the best, most complete profile of his dad he’s ever read, and I’m proud of that. Another interesting part of the volume was contributed by noir expert, historian Karen Burroughs Hannsberry, (author of two wonderful noir books and editor of the terrific noir newsletter, The Dark Pages). She analyzes the noir elements of each of the Whistler films. Conclusion Thank you so much, Dan! For even more on The Whistler series of films be sure to pick up Dan's book The Whistler: Stepping Into the Shadows available on Amazon.com HERE . Be sure to catch The Whistler series on Turner Classic Movies over the next several Saturday mornings beginning at 10:45 am EST through October 6. About Dan Van Neste A native of Michigan, author, biographer, film historian Dan Van Neste has penned over 40 major movie related articles for various newspapers, magazines, and film journals during the past two decades. Best known for his star profiles in Classic Images and Films of the Golden Age magazines, his work has merited seven cover stories. Many of his articles have included original interviews with vintage filmmakers. His first book, The Whistler: Stepping Into the Shadows is a salute to the influential, groundbreaking suspense film series produced by Columbia Pictures (1944-48). The 421 page film reference volume featuring 114 photos traces the history of the series and its radio origins, provides vital background details on each of the 8 Whistler motion pictures, and features 50 rare profiles of Whistler filmmakers highlighted by an in-depth look back at the life and career of series' star Richard Dix. Pick it up on Amazon.com HERE .
6282	dbpedia	3	49	https://www.statista.com/statistics/254115/favorite-movie-genres-in-the-us/	en	Favorite movie genres in the U.S. by gender 2018	https://cdn.statcdn.com/…15-blank-355.png	https://cdn.statcdn.com/…15-blank-355.png	[ "https://cdn.statcdn.com/Study/160000/162257-standard.png", "https://cdn.statcdn.com/Statistic/970000/972751-blank-100.png", "https://cdn.statcdn.com/Statistic/1265000/1268258-blank-100.png", "https://cdn.statcdn.com/Statistic/280000/282411-blank-100.png", "https://cdn.statcdn.com/Statistic/970000/972743-blank-100.png", "https://cdn.statcdn.com/static/../CMS/contactperson/ERI851_1715670933.png", "https://cdn.statcdn.com/static/img/modalEmployeeGroup.png", "https://cdn.statcdn.com/static/icons/blank.gif", "https://cdn.statcdn.com/Topic/8670.jpg", "https://cdn.statcdn.com/Topic/2140.jpg", "https://cdn.statcdn.com/Topic/1854.jpg", "https://cdn.statcdn.com/Topic/8042.jpg", "https://cdn.statcdn.com/Topic/5004.jpg" ]	[]	[]	[ "" ]	null	[ "Laura Carollo" ]	null	Like music, movies can be hard to pin down when it comes to which genre they are most aligned with.	en	https://cdn.statcdn.com/…atic/favicon.svg	Statista	https://www.statista.com/statistics/254115/favorite-movie-genres-in-the-us/	Favorite film genres in the U.S. 2018, by gender Published by Most popular movie genres among adults in the United States as of December 2018, by gender table column chart CharacteristicMaleFemaleComedy90%91%Drama80%89%Adventure90%89%Action90%86%Romantic comedy67%84%Crime79%84%Thriller/mystery84%83%Romance55%77%Documentary78%77%Animated65%75%Live-action77%71%Fantasy71%70%Musicals48%64%Sci-fi76%62%Horror57%47% Loading statistic... Source Show detailed source information? Register for free Already a member? Log in Sources Use Ask Statista Research Service Release date December 2018 More information Region United States Survey time period November 29 to December 2, 2018 Number of respondents 2,200* Age group 18 years and older Method of interview Online survey Supplementary notes *Total sample size was 2,200. Results given are reflective of respondents who had a very or somewhat favorable impression of the movie type. Question: Do you have a favorable or unfavorable impression of the following types of movies? Citation formats
6282	dbpedia	3	69	https://www.cnn.com/style/article/martin-scorsese-italianamerican/index.html	en	How Martin Scorsese helped define Italian American style	https://media.cnn.com/ap…596,c_crop/w_800	https://media.cnn.com/ap…596,c_crop/w_800	[ "https://media.cnn.com/api/v1/images/stellar/prod/200529130205-01-scorsese-italianamerican.jpg?q=w_2000,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200820162641-01-scorsese-italian-american-style-film-goodfellas.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200821132730-01-martin-scorsese-suits-style-restricted.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200820162933-03-scorsese-italian-american-style-film-mean-streets-restricted.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200529130219-02-scorsese-italianamerican.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200821132948-03-martin-scorsese-suits-style-restricted.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200529125646-cathy-moriarty-raging-bull-restricted.jpg?q=w_1110,c_fill", "https://media.cnn.com/api/v1/images/stellar/prod/200821133053-04-martin-scorsese-suits-style.jpg?q=w_1110,c_fill" ]	[]	[]	[ "celebrities", "martin scorsese", "arts and entertainment", "business and industry sectors", "business", "economy and trade", "clothing and accessories", "consumer products", "continents and regions", "crime", "law enforcement and corrections", "criminal offenses", "fashion design", "media industry", "movie and video industry", "movies", "new york (state)", "new york city", "north america", "northeastern united states", "organized crime", "the americas", "united states" ]	null	[ "Craigh Barboza" ]	2020-09-23T11:28:44+00:00	This month marks the 30th anniversary of Scorsese’s gangster classic “Goodfellas.” Tthe director’s popular vision has always been about character, with wardrobe playing a huge role in helping him bring authentic Italian American experiences to the screen. Here’s a look at how clothes helped create a cinematic legacy.	en	/media/sites/cnn/apple-touch-icon.png	CNN	https://www.cnn.com/style/article/martin-scorsese-italianamerican/index.html	Editor’s Note: Craigh Barboza teaches film journalism at New York University and writes about race, entertainment and culture. Martin Scorsese is, by just about any measure, one of the greatest living directors. He makes dark, and often violent films that combine technical brilliance with larger-than-life characters. Many of them, like “The Departed” and “Taxi Driver,” are among the most celebrated in cinematic history. But Scorsese is also a devoted fashion buff whose career offers a fascinating look at Italian American style in movies. Watching the array of men’s clothes in particular is one of the singular pleasures of the Oscar-winning auteur’s work. When we meet Ray Liotta’s mob soldier, circa 1960s, smoking outside a diner in “Goodfellas,” Scorsese’s seminal gangster film – which turns 30 this month – he is the model of Rat Pack-era masculine cool: leather tassel loafers and a slim-cut sharkskin suit paired with an open-collar cardigan. It’s not just that Scorsese’s characters look period appropriate. The way they dress (just like the way they talk) is often a key to understanding them. For “The Irishman,” the director’s most recent crime epic which drew a record 17.1 million viewers in its first five days on Netflix, Joe Pesci’s 1970s mob boss was outfitted in dapper suits, complete with a spear-point “capo” collar that was based on a memory from Scorsese’s old neighborhood. (That particular shirt design was the mark of a “made” member of a crime family, Scorsese once recalled in an interview.) The powerful fusion of style and identity was there more than five decades ago at the very beginning of Scorsese’s career, as made clear by his 1964 award-winning student film “It’s Not Just You, Murray!” The comedy, beautifully shot in black-and-white, opens with the protagonist (a schmuck made good) speaking directly to the camera about his sharp attire. He ticks off the price tag, item by item. “You see this tie,” he says, motioning for the camera to tilt up to his face, “$20.” “It’s Not Just You, Murray!,” along with four other early 16-mm films by the director (all fully restored), is included in “Scorsese Shorts,” a recently released Criterion DVD compilation that traces his early development. “It was apparent early on that Marty had a vast knowledge of fashion history,” said costume designer Sandy Powell via email. The multi-Oscar winner first worked with Scorsese on the 2002 revenge drama “Gangs of New York.” “He has a keen eye for detail and an incredible memory. Not many directors can tell the difference between the width of a sleeve on a man’s jacket from 1830 compared to that of 1850!” Little Italy on the big screen Scorsese appears to take great pride in his own wardrobe and has cultivated a certain kind of urban elegance. For years the director, now 77, shopped at the famed New York department store Barneys. They were the first to carry luxury brands like Giorgio Armani, whose jeans Scorsese collected. Later, he showed a penchant for designer suits by Battistoni, Berluti or Anderson & Shepperd, which he would complement with distinctive ties and accessories, like a watch chain. This is a guy who wore French cufflinks to the original Woodstock festival in ’69. The fact that style has played such an important role in Scorsese’s films has everything to do with his family. Both parents were first-generation Sicilian Americans who found jobs in New York City’s garment district, which at one point produced the bulk of the clothes manufactured in the United States. In keeping with the era’s gender division of labor, his father, Charles, was a presser and mother, Catherine, worked as a seamstress. Later, they served as wardrobe consultants on “Goodfellas” and “The Age of Innocence,” which won the Oscar for costume design in 1993. The Scorseses lived in Little Italy on the Lower East Side, home to some of the best old-time Italian bakeries and red sauce joints in the world. But it was also a tough, insular community with a reputation for gangsterism. Scorsese has often recalled that his childhood neighborhood inspired his breakthrough 1973 film “Mean Streets.” He used to sit on the fire escape or roof of his building and stare down at the crowded streets, where he would see a mix of working-class Americans of Italian descent, street kids and social club patrons, occasionally dressed up in bespoke suits with bold-colored patterns. They donned spiffy shined shoes, jewelry and other aspirational displays of wealth. “There was an excess beyond what you saw with midtown businessmen,” Sarah C. Byrd, a fashion historian and archivist, said of “Mean Streets.” The film “offers exaggerated notions of masculinity, power, and the suits were likely made by a highly skilled tailor.” In 1974, Scorsese was coming off the success of his first studio movie, “Alice Doesn’t Live Here Anymore,” when he was offered to direct a documentary on Italians. It was part of a planned television series on ethnic groups. Instead of taking a conventional approach (digging through archival footage for typical stories and hiring a narrator to provide context), Scorsese decided to make a movie about his parents. He called it “Italianamerican.” The joining of the two words was intended to signify the bridging of two worlds, he has said. Over the movie’s title card, Scorsese used a lively piece of Italian folk-dance music known as tarantella. (Anyone who’s seen “The Godfather Part II,” another paragon of Italian American fashion, might know this is the kind of tune Frankie Pentangeli memorably tries in vain to get a Nevada-square wedding band to play, before they mockingly break into “Pop Goes the Weasel.”) “Italianamerican,” also included in “Scorsese Shorts,” was shot as a cinema vérité documentary with a small crew over two days at the director’s childhood home on Elizabeth Street. It’s an affectionate, at times hilarious sort of companion piece to “Mean Streets.” His parents, in their 60s, are well dressed in fairly contemporary looks: Charles has a colorful striped shirt with dark slacks; Catherine, a sleeveless pink ruffle dress and crown of purple-grey hair. The star of the movie turns out to be his mother: a natural storyteller with a crackling wit and blue floral-wallpapered kitchen, where we see her preparing a pasta dinner. Scorsese asks a few questions, like “How did you learn to make The Sauce?” But more often than not the director (impeccably groomed with a handlebar mustache and beard) just lets his parents talk or react to him, to the crew, to each other. There, in their walk-up apartment decorated with a panorama fresco of Italy and a vinyl-covered couch, we get some family anecdotes and old Italian customs. We also hear about early tenement life and how Scorsese’s parents ended up making clothes. Being raised by the people who formed the backbone of the fashion industry is no guarantee that your films will be celebrated for wardrobe. But costume designer Powell, who has worked on seven pictures with Scorsese, said his style IQ has helped make him a better filmmaker. “It instilled in him an understanding of both the limitations and heights one can go to in costume design,” she said. For example, one of the first things Scorsese does when an actor arrives on set in a new costume is touch the garment. He inspects them from head to toe, like a tailor checks for size and fit. Authenticity first Scorsese has often said that “Italianamerican” was the best film he ever made. He credits it with freeing up his directorial style. Soon after the documentary aired on a local public station in New York, Scorsese started taking on some of the boldest, most exciting work of his career. Like an avant-garde designer reinventing traditional clothes, he set out to smash all the preconceptions of what a film should look like, experimenting with camera and editing techniques that gave the movies a new tone and visual texture. They often featured troubled, compulsively watchable characters. The first was “Taxi Driver,” a searing update of Dostoevsky’s “Notes from Underground.” Scorsese’s tabloid depiction of urban decay and alienation that erupts in violence won the 1976 Palme d’Or at Cannes. And then there was “Raging Bull,” his gritty period biopic of middleweight boxing champ Jake La Motta, which earned Robert De Niro a best actor Oscar. Again, the costumes reflected a lived-in experience. LaMotta, a tortured, driven fighter that practically flattened everything around him, including seven marriages, favored ribbed white T-shirts and pleated slacks outside the ring. “Raging Bull” focuses on the fighter’s second wife, Vickie (newcomer Cathy Moriarty), who he met at a public pool, where she’s lounging in a one-piece swimsuit best described as “1950s starlet.” Before it all comes crashing down, there’s a charming rooftop wedding in Little Italy, just like Scorsese’s parents had for theirs. For Scorsese, authenticity is always prized above all else. “It’s foundational to his cinema, it’s what makes it so special,” said critic Kent Jones over email. “For years, we saw things like (the crime yarn) ‘Cry of the City.’ It’s a good movie but with a caricatured ‘Whatsamattayou’ picture of Italian Americans. So, I can’t stress enough the double shock of ‘The Godfather’ and ‘Mean Streets,’ one year later.” “Those films resonated because they were truthful, [not so much] about organized crime, but about a lived experience,” he added. “The way people congregated, the way they hung out, the way they expressed themselves, with the poetry of their whole being.”
6282	dbpedia	3	90	https://prezi.com/1aycsnhxjxta/the-history-of-murder-mystery/	en	THE HISTORY OF MURDER MYSTERY.	https://0701.static.prez…r3dnitcq_3_0.png	https://0701.static.prez…r3dnitcq_3_0.png	[ "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/icons/Close.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/facebook-icon.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/twitter-icon.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/linkedin-icon.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/facebook-icon.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/twitter-icon.svg", "https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/footers/linkedin-icon.svg" ]	[]	[]	[ "" ]	null	[]	null	Murder mystery is the film genre which follows the narrative of a murder being committed, the films conventionally follow the detectives discovering the murderer so they can be punished. Mysteries had their start in the early days of silent film. The most primitive serials, such	en	https://assets.prezicdn.net/assets-versioned/prezipage-versioned/5184-868acf0/common/img/favicon.ico?v=2	prezi.com	https://prezi.com/1aycsnhxjxta/the-history-of-murder-mystery/
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With Richard Dix, Leslie Brooks, Michael Duane, Mary Currier. A wealthy wife suspects her artist husband's affair with his model. He poisons his wife for inheritance but faces unexpected consequences after her death. A thriller exploring greed, betrayal, and the consequences of criminal actions.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0038917/	Secret of the Whistler, The (1946) *** (out of 4) T he sixth film in Columbia's series and the last to feature Richard Dix. In the film Dix plays an artist who begins dating a younger woman (Leslie Brooks) while waiting for his wife to die. After the wife dies he marries the younger woman but soon she starts to fear that he might have killed the first wife. This is another good entry in the series that manages to build some nice suspense with its very entertaining story and another fine performance by Dix. Not only is Dix very good in his role but the supporting cast is great as well. Brooks turns in a very good performance as the woman who begins to suspect the worst. Michael Duane and Mary Currier co-star as a newspaper man and Dix's first wife. The story goes by at a very fast pace and there's some nice twists and turns along the way. The film focuses on a psychological horror aspect, which is where the suspense comes from.
6282	dbpedia	0	92	https://dianesbooks.com/book/9780525492856	en	The Whistler	https://dianesbooks.com/…/logo-circle.png	https://dianesbooks.com/…/logo-circle.png	[ "https://dianesbooks.com/sites/default/files/styles/logo/public/2023-05/logo-circle.jpg?itok=-fqFSUGi", "https://images.booksense.com/images/856/492/9780525492856.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://dianesbooks.com/sites/default/files/2023-05/nocover.jpg", "https://images.booksense.com/images/878/422/9780593422878.jpg", "https://images.booksense.com/images/461/535/9780525535461.jpg", "https://images.booksense.com/images/132/214/9780063214132.jpg", "https://images.booksense.com/images/156/021/9781668021156.jpg", "https://images.booksense.com/images/833/375/9780063375833.jpg", "https://images.booksense.com/images/864/375/9780063375864.jpg", "https://images.booksense.com/images/514/494/9780007494514.jpg", "https://images.booksense.com/images/685/173/9781982173685.jpg", "https://images.booksense.com/images/457/945/9780062945457.jpg", "https://images.booksense.com/images/614/358/9780063358614.jpg", "https://images.booksense.com/images/440/147/9781982147440.jpg", "https://images.booksense.com/images/801/676/9780062676801.jpg", "https://images.booksense.com/images/516/220/9780062220516.jpg", "https://images.booksense.com/images/558/001/9780063001558.jpg", "https://images.booksense.com/images/824/868/9780062868824.jpg", "https://images.booksense.com/images/218/165/9781613165218.jpg", "https://images.booksense.com/images/979/295/9780553295979.jpg", "https://images.booksense.com/images/965/342/9780063342965.jpg", "https://images.booksense.com/images/247/117/9780143117247.jpg", "https://images.booksense.com/images/444/309/9780778309444.jpg", "https://images.booksense.com/images/101/433/9780525433101.jpg", "https://images.booksense.com/images/387/244/9780440244387.jpg", "https://images.booksense.com/images/897/397/9780063397897.jpg", "https://images.booksense.com/images/164/074/9780062074164.jpg", "https://images.booksense.com/images/132/221/9781464221132.jpg", "https://images.booksense.com/images/406/161/9780802161406.jpg", "https://images.booksense.com/images/614/974/9780812974614.jpg", "https://images.booksense.com/images/013/052/9781668052013.jpg", "https://dianesbooks.com/themes/custom/bookworm/images/ada_compliance.png" ]	[]	[]	[ "Dianes Books" ]	null	[]	null	#1 NEW YORK TIMES BESTSELLER • A high-stakes thrill ride through the darkest corners of the Sunshine State, from the author hailed as “the best thriller writer alive” by Ken Follett “Riveting . . . an elaborate conspiracy.”—The New York Times Book Review We expect our judges to be honest and wise. Their integrity is the bedrock of the entire judicial system. We trust them to ensure fair trials, to protect the rights of all litigants, to punish those who do wrong, and to oversee the flow of justice. But what happens when a judge bends the law or takes a bribe? Lacy Stoltz is an investigator for the Florida Board on Judicial Conduct. It is her job to respond to complaints dealing with judicial misconduct. After nine years with the Board, she knows that most problems are caused by incompetence, not corruption. But a corruption case eventually crosses her desk. A previously disbarred lawyer is back in business, and he claims to know of a Florida judge who has stolen more money than all other crooked judges combined. And not just crooked judges in Florida. All judges, from all states, and throughout United States history. And now he wants to put a stop to it. His only client is a person who knows the truth and wants to blow the whistle and collect millions under Florida law. When the case is assigned to Lacy, she immediately suspects that this one could be dangerous. Dangerous is one thing. Deadly is something else.	en	/sites/default/files/2023-05/logo-circle.png	IndieCommerce	https://dianesbooks.com/book/9780525492856	Description #1 NEW YORK TIMES BESTSELLER • A high-stakes thrill ride through the darkest corners of the Sunshine State, from the author hailed as “the best thriller writer alive” by Ken Follett “Riveting . . . an elaborate conspiracy.”—The New York Times Book Review We expect our judges to be honest and wise. Their integrity is the bedrock of the entire judicial system. We trust them to ensure fair trials, to protect the rights of all litigants, to punish those who do wrong, and to oversee the flow of justice. But what happens when a judge bends the law or takes a bribe? Lacy Stoltz is an investigator for the Florida Board on Judicial Conduct. It is her job to respond to complaints dealing with judicial misconduct. After nine years with the Board, she knows that most problems are caused by incompetence, not corruption. But a corruption case eventually crosses her desk. A previously disbarred lawyer is back in business, and he claims to know of a Florida judge who has stolen more money than all other crooked judges combined. And not just crooked judges in Florida. All judges, from all states, and throughout United States history. And now he wants to put a stop to it. His only client is a person who knows the truth and wants to blow the whistle and collect millions under Florida law. When the case is assigned to Lacy, she immediately suspects that this one could be dangerous. Dangerous is one thing. Deadly is something else. About the Author John Grisham is the author of numerous #1 bestsellers, including The Firm, A Time to Kill, The Innocent Man, The Whistler, The Boys from Biloxi, and many more. His books have been translated into nearly fifty languages. Grisham is a two-time winner of the Harper Lee Prize for Legal Fiction and was honored with the Library of Congress Creative Achievement Award for Fiction. Grisham serves on the board of directors of the Innocence Project and Centurion Ministries, two national organizations dedicated to exonerating those who have been wrongfully convicted. Much of his fiction explores deep-seated problems in our criminal justice system. He lives on a farm in central Virginia. Cassandra Campbell is an actress, director, and teacher who has performed in New York at the Public Theater, the Mint Theater, and the Clurman Theatre. She is an accomplished voice-over artist whose credits include numerous audiobooks, documentaries, and commercials in both Italian and English. Praise for The Whistler “Riveting . . . finely drawn . . . The Whistler centers on an elaborate conspiracy involving an Indian reservation, an organized crime syndicate and a crooked judge skimming a small fortune from the tribal casino’s monthly haul.”—The New York Times Book Review “A main character who’s a seriously appealing woman . . . a whistle-blower who secretly calls attention to corruption . . . a strong and frightening sense of place . . . Grisham’s on his game.”—Janet Maslin, The New York Times “A fascinating look at judicial corruption . . . an entirely convincing story and one of Grisham’s best. I can’t think of another major American novelist since Sinclair Lewis who has so effectively targeted social and political ills in our society. In Grisham’s case, it is time at least to recognize that at his best he is not simply the author of entertaining legal thrillers but an important novelistic critic of our society. In more than 30 novels, he has often used his exceptional storytelling skills to take a hard look at injustice and corruption in the legal world and in our society as a whole.”—Patrick Anderson, The Washington Post “Grisham’s latest involves the rich and powerful and an abuse of the justice system. Grisham novels are crowd-pleasers because he knows how to satisfy readers who want to see injustice crushed, and justice truly prevails for those who cannot buy influence.”—Associated Press “Grisham has become an institution. For more than 25 years now he’s been our guide to the byways and backwaters of our legal system, superb in particular at ferreting out its vulnerabilities and dramatizing their abuse in gripping style. He excels at describing injustice and corruption. Grisham’s legal knowledge is impressive, and his ability to convey it unparalleled in popular fiction.”—USA Today
6282	dbpedia	1	31	https://www.theatlantic.com/magazine/archive/1921/04/james-mcneill-whistler/647643/	en	James McNeill Whistler	https://cdn.theatlantic.…lt-thumbnail.png	https://cdn.theatlantic.…lt-thumbnail.png	[ "https://cdn.theatlantic.com/_next/static/images/nav-archive-promo-5541b02ae92f1a9276249e1c6c2534ee.png", "https://www.theatlantic.com/magazine/images/current-issue.large.jpg", "https://cdn.theatlantic.com/media/img/specialreports/lead/2020/10/14/Thumbnail.jpg", "https://cdn.theatlantic.com/assets/media/files/nav-crossword.png", "https://cdn.theatlantic.com/media/files/archive-thumbnail.png", "https://cdn.theatlantic.com/media/files/YourSubscription_300x300.jpg", "https://cdn.theatlantic.com/thumbor/rACLY5bse256mQXSHamiZOx_e90=/0x115:2679x3687/96x128/media/img/issues/1921/04/01/original.jpg, https://cdn.theatlantic.com/thumbor/7-vIlfG7ig4Mds3Xe-Qop5MFzuc=/0x115:2679x3687/192x256/media/img/issues/1921/04/01/original.jpg 2x, https://cdn.theatlantic.com/thumbor/Bq74pKbYpyZshT_9dF11dG8yoDA=/0x115:2679x3687/288x384/media/img/issues/1921/04/01/original.jpg 3x" ]	[]	[]	[ "" ]	null	[ "Gamaliel Bradford" ]	1921-04-01T05:00:00+00:00	The Atlantic covers news, politics, culture, technology, health, and more, through its articles, podcasts, videos, and flagship magazine.	en	https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico	The Atlantic	https://www.theatlantic.com/magazine/archive/1921/04/james-mcneill-whistler/647643/	I THE problem with Whistler is to reconcile a great artist with a little man — or, if not a little man, an odd man, an eccentric man, a curious, furious creature, who flitted through the world, making epigrams and enemies, beloved and hated, laughing and laughable, and painting great pictures. He was glorified by his hand and damned by his tongue. The task of disentangling this snarled soul is made much more difficult by the perplexity of records. What little he himself wrote, helps, so far as it goes. But it does not go far; and, for the most part, we have to deal with a cloud of legend, sometimes rosy, sometimes lurid, according to the reporter, but always obscuring and deceitful. Anecdotes are told in a dozen different ways, and there is never that care for verbal authenticity which is essential with a spirit at once so precise and so evasive. The chroniclers are baffling, when they mean to be helpful. The shrewd invent, the dull misapprehend. Take a single instance. One of the best-known Whistler stories is that of the answer to a lady who declared that there was no one but Whistler and Velasquez: ‘Madam, why drag in Velasquez?’ An obsequious follower actually inquired of the Master, whether he really meant this. When they are subjected to such Boswells, who can blame the Dr. Johnsons and the Whistlers for running riot? So, through all the uncertainty, we have to do the best we can. Whistler was born in Lowell, like other great men. He did not like it; he would have preferred his mother’s southern dwelling-place, and sometimes implied that he was born in Baltimore. He declared in court that he was born in St. Petersburg. He once said to an inquisitive model, ‘My child, I was not born. I came from on high.’ And the model answered, with a frivolous impertinence that charmed him, ‘I should have supposed you came from below.’ He was as reticent about his age as he was about his birthplace. But the hard fact is that he was born in Lowell, in 1834. To be born in Lowell, to grow up in Russia, to be educated at West Point, to paint in France and England, with vague dashes to Venice and Valparaiso, and to die in London at seventy, makes a sufficiently variegated career. Even so, it was less variegated without than within. Through the whole of it his life was in the pencil and brush, and I he world to him was a world of line and color. As a small child, he drew in Russia, and laughed at the pictures of Peter the Great. At West Point he drew his instructors, and astonished them. In the Coast Survey service he made exquisite official drawings — and odd faces on the margins of them. And, till he died, laughter and fighting may have been his diversions, but drawing and painting were his serious business. The only serious one. Few human beings have taken less interest in the general affairs of men. Even for the other arts he had little thought to spare, except as they affected his own. Poetry did not touch him, unless an occasional jingle. Tragedy he found ludicrous. He liked to fetch analogies from music, but he knew nothing about it and cared nothing for it. Apparently he read little, except as a special fancy took him. He adored Poe. He read Balzac and t he writers of that group. The Pennells insist that he must have read widely, because he had so much general information. Others say that he never touched a book. Probably the truth is that his reading was limited, but that a most retentive memory kept forever anything that impressed him. However this may be, in all the records and biographies I have found little trace of his conversing, or wishing to converse, on ordinary topics of general interest. To politics and the wide range of social questions he was utterly indifferent. He hated journalists because they talked about him, and politicians because they did not. He praised America and t hings American at a distance, but American democracy would not have pleased him. In one sense he was democratic himself; for a street-sweeper who could draw would have interested him more than a British peer who only patronized art. ‘The Master was a Tory,’ says Mr. Menpes. ‘He did not quite know why; but he said it seemed to suggest luxury; and painters, he maintained, should be surrounded with luxury. He loved kings and queens and emperors, and had a feeling that his work should only be bought by royalty.’ With religion the attitude was about as elementary. Whistler dreaded death and avoided it and the thought of it. He believed in a future life, and could not understand those people who did not. He even pushed this belief as far as spiritualism, took a lively interest in mediums and table-rappings and communications from the dead. But I do not find that religious emotion or reflection had much real place in his life. He was immensely busy in this world, and left the next to take care of itself. In general, his religious tone is admirably conveyed by the anecdote of the dinner at which he listened in unusual silence to an animated and extensive discussion between representatives of various sects. At last Lady Burton turned to him and said, ‘And what are you, Mr. Whistler?’ ‘I, madam?’ he answered, using the word with which he would have liked to stop the mouths of all those who chattered about his own pursuit in life; ‘I, madam? I am an amateur.’ The same ignorance of the general thought and life and movement of the world very naturally permeates even Whistler’s elaborate discussions of his own art. The theories of the celebrated Ten o’Clock lecture, that art is a casual thing, and cometh and goeth where it listeth, that the artist happens, that there are no artistic peoples or periods, and that art has nothing to do with history, are shrewd, apt, and, as a protest against pedantry, in many respects just. But they are incoherent and chaotic, more witty than philosophical, and more significant of Whistler than of truth. Above all, they are intimately relat ed to the wide ignorance and indifference I have been commenting on. Whistler made much of his musical analogies. If he had thought a little more deeply on music, he might have used another — or he might not. For music is indisputably and naturally what he always sought to make painting— the art of ignorance; the art, that is, which appeals directly to the emotions and does not require for its appreciation any wide training or experience in history or in the general interests of human life. It is for this reason that music, even more than painting, seems destined to become the all-engrossing, all-devouring art of the future. And as Whistler was indifferent to human concerns outside his art in a theoretical way, so he carried the same indifference into practical action. He lived to paint, or to talk about painting; all else was pastime, and most things hardly that. Money? He could somet imes drive a hard bargain, but it was a question of pride in his own work, not of meanness. Otherwise, money slipped through his fingers, though in the early days there was little enough to slip. An artist should be comfortable, and bills were mundane things. So, though no one ever disputed his honesty of intention, he was apt to be in trouble. With time as with money. Exact hours and art had nothing to do with each other. What was punctuality? A virtue — or vice — of the bourgeoisie. If people invited him to dinner, he came when he pleased and dinner waited. If he invited them to breakfast at twelve, they might arrive at one and still hear him splashing in his bath behind the folding doors. In all these varied phases of simplicity and unsophistication what strikes me most is a certain childlikeness. The child is a naked man, and in some respects so was Whistler. The child view accounts for many of his oddities and reconciles many of his contradictions. He thought strange things; but above all, he said and did what he thought, as most of us do not. Take his infinite delight in his own work. What artist in any line does not feel it? But some conceal it more than Whistler did. Gazing with rapt adoration at one of his pictures, he said to Keppel, ‘Now is n’t it beautiful?’ ‘It certainly is,’ said Keppel. And Whistler, ‘No, but is n’t it beautiful?’ ‘It is indeed,’ said Keppel. And Whistler again, raising his voice to a scream, with a not-too-wicked blasphemy, and bringing his hand down on his knee with a bang, so as to give emphasis to the last word of his sentence, ‘— it! is n’t it beautiful?’ The child is the centre of his own universe, relates everything, good and evil, to himself, as does the man also, in his soul. Whistler did it openly, triumphantly. His official biographers declare that they never heard him refer to himself in the third person; but they knew him only in later life and always managed to take a somewhat academic and decorous view of him. It is impossible to question Mr. Bacher’s account of his referring to himself as Whistler, though there may be some exaggeration in it. Not ‘I,’ but ‘Whistler’ did this or that. You must not find fault with the work or with the word of Whistler. Or again, at another period, it was the Master, as Mr. Menpes records it for us. ‘You do not realize what a privilege it is to be able to hand a cheque to the Master. You should offer it on a rich old English salver and in a kingly way.’ Just a hint of mockery in it, of course, but an appalling deal of seriousness also. And note the curious coincidence of this self-asserting, third-personal egotism with the attempt of Henry Adams to avoid egotism in precisely the same manner. Everywhere with Whistler there is the intense determination of the child to occupy the centre of the stage, no matter who is relegated to the wings. There is the sharp, vivid laugh, the screaming ‘Ha! ha!’ a terror to his enemies, and something of a terror to his friends also. Not a bit of real merriment in it, but a trumpet assertion of Whistler’s presence and omnipresence. There is the extraordinary preoccupation with his own physical personality. In some respects, no doubt, he was handsome. A good authority declares that in youth he must have been ‘a pocket Apollo.’ At any rate, to use his pet word, he was always ‘amazing.’ The white lock, whether he came by it by inheritance or accident — what an ensign it was to blaze out the coming of the Master! Just so Tom Sawyer triumphed in his deleted front, tooth. Read Mr. Menpes’s charming account of Whistler at the barber’s. What a sacred function, what a solemn rite, the cult of the lock, the cult of the Master’s personality. At the tailor’s it was the same. Every customer was called upon to give his opinion as to the fit of a coat, and the tailor was duly impressed with his almost priestly privilege. ‘You know, you must not lot the Master appear badly clothed: it is your duty to see that I am well dressed.' Milton tells us that he who would be a great poet must make his own life a great poem. Whistler apparently thought that he who would be a great artist must make himself a great picture ; but the picture he made was only what he detested most, — the word and the thing, — clever. II A large feature of the life of children is quarreling. It certainly was a large feature of the life of Whistler. And we shall best understand his quarrels, if we think of him as a noisy, nervous, sharp-tongued, insolent boy. There have been plenty of other artists like him, alas! He has been compared to Cellini, and justly; and Vasari’s accounts of Renaissance painters abound with rough words and silly or cruel deeds that might easily have been Whistler’s. Whistler liked flattery and adulation as a child does, and sought them with the candid subtlety that a child employs for the same object; witness the singular story of the arts and wiles with which the Master tried to wan the affection of the ignorant fishermen of St. Ives — without success. As he liked compliments, so he resented criticism, especially if it did not come from a competent source; and a competent source was too apt to mean one that took Whistler’s preëminence for granted. Criticism, sometimes reasonable, sometimes ignorant, sometimes really ill-natured and spiteful, was at the bottom of most of the riotous disagreements which long made the artist more conspicuous than his painting made him. It is not necessary to go into the details of these unpleasant squabbles. The names of Ruskin, Wilde, Moore, Whistler’s brother-in-law, Haden, and his patrons, Eden and Leyland, will sufficiently suggest them. Sometimes these adventures began with hostility. Sometimes friendship began them and hostility ended them. Sometimes Whistler appears madly angry, actually foaming at the mouth, says one observer, so that flecks of foam were to be seen on his tie. Sometimes he chuckled and triumphed devilishly, with punctuations of the fierce and irritating ‘Ha! ha!’ Sometimes there was physical violence. Of course, such doings were disgusting and disgraceful, and they should have been forgotten as speedily as might be. But this was not Whistler’s way. Instead, he gloated over every contest, whether verbal or muscular. He insulted his enemies and exalted their discomfiture in print, like a hero of Homer or a conceited boy. He wrote letter after letter to the papers, always so obligingly ready to help a great man expose himself. Then he collected the whole mass, including the replies of those who had been foolish enough to reply, into The Gentle Art of Making Enemies, and flattered himself that he was a great author as well as a great artist. Some people think he was. There is no doubt that he was a master of bitter words. His phrases have a casual ease of snapping and stinging that often scarifies and sometimes amazes. From his Puritan training and his extensive knowledge of the Bible, — ‘that splendid mine of invective,’ as he characteristically called it, — as well as from his own reckless temper, he drew a profusion of abuse, which withered, whether justifiable or not. And occasionally he was capable of great imaginative touches that recall his pictures. But in general his writing is vexatious and, to say the least, undignified; the angry rattle of a gifted small boy, who ought to know better. The Wilde correspondence is perhaps the worst; but everywhere we get a tone of cheap abuse and railing. There is a careless vigor of sharp wit, but hardly the vituperative splendor of Voltaire or Swift. And it is such a small, such a shallow, such a supersensitive way of taking criticism; no urbanity, no serenity, no large, sweet, humorous acceptance of the inevitable chattering folly of the world. I do not see how any admirer of Whistler’s genius can read The Gentle Art without sighing over the pity of it. The pity of it is rather increased by his evident enjoyment. There was no real hatred at the bottom of his attacks. Mr. Chesterton insists that he tortured himself in torturing his enemies. This is rather too much of a tragic emphasis. He relieved his nervous irritability by slashing right and left. But I do not know that there was much torture in it and there was a good deal of fun — of a kind. ‘I have been so abominably occupied, what with working and fighting —! and you knowhow I like both.’ He did like fighting, and winning — or to make out that he had won. In a charming phrase, he describes himself as ‘delicately contentious.’ Again, he told the Pennells that he ‘could never be ill-natured, only wicked.’ The distinction is worthy of him, and is no doubt just, though perhaps not so self-complimentary as he thought it. Moreover, in all his fights and quarrels, he liked and respected those who stood up to him and answered back. If you dodged and cowered, he would pursue remorselessly. If you gave him as good as he sent, he would laugh that shrill ‘Ha! ha!’ and let you go. When the artist was painting Lady Meux, he vexed and bothered and badgered her past endurance. Finally she snapped out, ‘See here, Jimmie Whistler! You keep a civil tongue in that head of yours, or I will have in someone to finish those portraits you have made of me.’ All Whistler could find to say was, ‘How dare you? How dare you?’ But he thought a good deal more of Lady Meux. Also, his impishness, his strange, fantastic love of mischief, prompted him to scenes and touches of Aristophanic, Mephistophelian comedy, sometimes laughable, sometimes repulsive. There is a Renaissance cruelty about his remark, when told that the architect who originally designed the Peacock Room had gone mad on seeing Whistler’s alterations: ‘To be sure, that is the effect I have upon people.’ There is more of the ridiculous, but also much of the bitter, in his own wonderful account of his revenging himself upon Sir William Eden by spoiling the auction sale of his pictures. ‘I walked into the big room. The auctioneer was crying, “Going! Going! Thirty shillings! Going!” — “Ha! ha!” I laughed — not loudly, not boisterously— it was very delicately, very neatly done. But the room was electrified. Some of the henchmen were there; they grew rigid, afraid to move, afraid to glance my way out of the corners of their eyes. “Twenty shillings. Going!” the auctioneer would cry. “Ha! ha!” I would laugh, and things went for nothing and the henchmen trembled.’ Moralizing comment on all these wild dealings and doings of Whistler is perhaps superfluous and inappropriate. It would certainly have caused boundless glee to Whistler himself. Yet one may be permitted to point out how easy it is, after all, to be disagreeable, and how little real cleverness it requires. Most of us devote our best efforts to avoiding instead of achieving it. And then how often we fail! Even to lie disagreeably witty is not always a triumph of genius. Any tongue can sting, and the unthinking are always ready to mistake stinging for wit. Much of Whistler’s recorded talk irresistibly suggests Dr. Johnson’s remark about Cibber: ‘Taking from his conversation all that he ought not to have said, he was a poor creature.’ In the same way with the gentle art of making enemies. Most of us require no art for it, being incredibly gifted by nature in that direction. The art of making friends is the difficult one, especially that of keeping them after they are made. It is easy to ridicule friendship. A lady once asked Whistler, ‘Why have you withered people and stung them all your life?’ He answered, ‘My dear, I will tell you a secret. Early in life I made the discovery that I was charming; and if one is delightful, one has to thrust the world away to keep from being bored to death.’ And he dedicated The Gentle Art to ‘The rare Few, who, early in Life, have rid Themselves of the Friendship of the Many.’ The irony is obvious enough, and it is equally obvious that Whistler was referring to the casual friendships of the world, which do not deserve the name. At the same time, the art, or the gift, or the instinct, of drawing men to you is worth more, to the artist or the Philistine, than that of repelling them. In studying Whistler one cannot but think of such an opposite type as Longfellow, who, without effort, almost without thought, and still keeping an individuality as sturdy as Whistler’s, and more manly, made himself lovable and beloved by everybody. Or, if Longfellow as an artist is not thought worthy the comparison, take Raphael, of whom Vasari tells us that a power was ‘accorded to him by Heaven of bringing all who approached his presence into harmony, an effect inconceivably surprising in our calling and contrary to the nature of artists.’ And again, ‘All harsh and evil dispositions became subdued at the sight of him; every base thought departing from the mind before his influence. . . . And this happened because he surpassed all in friendly courtesy as well as in art.' I am inclined to think that such praise would be worth more to Whistler’s memory a hundred years hence than The Gentle Art of Making Enemies. III So, having got rid of the too-abundant negative traits, let us turn to Whistler’s attraction and charm. He was a man of contradictions, says Mr. Van Dyke; and the frivolous mischiefmaker lived side by side with a thoughtful, earnest, even lofty-souled artist. The child clue will stay with us, as before. Those who knew Whistler best frequently recur to it: ‘When off his guard, he was often a pathetic kid.’ The childlike candor rarely failed, not only in asserting merits, but even in recognizing defects. ‘He was the most absolutely truthful man about himself that I ever met. I never knew him to hide an opinion or a thought — nor to try to excuse an action.’ And with the candor in professing opinions went a high and energetic courage in defending them, a courage that was sometimes blatant and tactless, but. seems to have been genuine, even to the point of admitting its own failures. When Mr. Menpes said to him, ‘Of course, you don’t know what fear is?’ Whistler answered, ‘ Ah, yes! I do. I should hate, for example, to be standing opposite a man who was a better shot than I, far away out in the forest in the bleak, cold early morning. Fancy, I, the Master, standing out in the open as a target to be shot at!’ In general human relations it would be a mistake to suppose that Whistler was always thorny, prickly, biting and stinging. His biographers assert that he was ‘ the gayest man who ever lived.’ Mr. Chesterton denies that he was gay, and I think Mr. Chesterton must be right. True gayety not only does not wound, but cannot bear the thought of having wounded; and such was not Whistler. Though he chose the butterfly signature, his nature had not the butterfly’s light and careless saturation of sunshine. But it is true that he loved human society and could never bear to be alone, even liking people about him when he worked. He could use his wit to charm and fascinate as well as to punish. Whenever he took part in conversation, he led it and deserved to lead it. Hear this account of his appearance in a crowded club-room. ‘Speaking simply in a quiet way to myself, without once looking round, Whistler would draw every man in that club to his side — smart young men about town, old fogies, retired soldiers, who had been dozing in armchairs.’ And men not only listened to him, they loved him — when they did not hate him. ‘ Whistler could be gentle, sweet, sympathetic, almost feminine, so lovable was he.’ He inspired deep attachments, which could be broken only by the rude knocks that he too well knew how to give. Servants loved him, and there is no better test of simple goodness and kindness. For women he seems always to have had a peculiar regard, although the records of his relations with them are naturally not abundant. His Southern training and habits gave him a rather unusual formal courtesy toward them, and many witnesses insist upon what is somewhat curious in consideration of his wit and comic instinct and of his distinctly irregular life: that he never uttered and never tolerated grossness. Two attachments to women, at any rate, played a large part in his career. He adored his mother and obeyed her in his youth. He adored her and watched over her in his riper years. Though he bitterly resented any critical suggestion of sentiment in his portrait of her, he confided to a friend, speaking very slowly and softly, ‘Yes — yes — one does like to make one’s mummy just as nice as possible.’ When he was over fifty he stumbled upon a casual marriage, fortuitous as most oilier external events in his career; but the marriage was singularly happy: he adored his wife as he had adored his mother, and her death shattered him in a way to confute those who denied him human tenderness. When it comes to art, Whistler’s admirable qualities are questioned by no one. His devotion to it from youth to age was perfect and unfailing. It was not perhaps as devouring and morbid a passion as with some; but it was a constant flame, which burned steadily through all difficulty and all discouragement. It was enlightened and intelligent also, directed from the beginning with firm and close discipline toward a definite object. Not that the difficulties and discouragements did not come. In spite of his confidence and belief in himself, there were times, as with all artists, when things went bitterly, hopelessly wrong. ‘No one,’ says Mr. Gay, ‘can realize, who has not watched Whistler paint, the agony that his work gave him. I have seen him, after a day’s struggle with a picture, when things did not go, completely collapse, as from an illness.’ And one should read Mr. Menpes’s strange account of abnormal excitement, on the very eve of an exhibition, over a mouth that was not right and could not be made right. ‘ He became nervous and sensitive. The whole exhibition seemed to centre on that one mouth. It developed into a nightmare. At length, in despair, he dashed it out with turpentine, and fled from the gallery just as the first critic was entering.’ As these efforts and struggles show, no matter how much Whistler may have attitudinized in life, in art he was sincere and genuine. If you took him quietly by himself, you could not but feel this. ‘As a matter of fact,’ says Mr. Van Dyke, ‘ he was almost always in a serious mood, and, with his knowledge and gift of language, talked most sensibly and persuasively.’ His actions showed sincerity far more than his talk. Though he was careless about money, spent much of it and would have liked to spend more, and believed that he could have done better work if he had had more to spend, he never sacrificed one line of his ideals for any earthly payment. ‘It is better to live on bread and cheese and paint beautiful things than to live like Dives and paint pot-boilers,’ he said; and he meant it and acted on it always. Also, he was sincere enough to accept criticism and profit by it, when it came from a proper source and in a proper spirit. He once asked a great sculptor to say what he thought of a portrait. The sculptor, after some hesitation, pointed out that one leg was longer than the other. Whistler’s friends expected an outburst. Instead, he remarked quietly, ‘You are quite right. I had not observed the fault, and I shall correct it in the morning.’ Afterwards he added, ‘What an eye for line a sculptor has!’ And, as he was ready to submit to criticism of his own work, so he was equally quick to acknowledge merit in others, provided it was really there. He praised the work of students and fellow artists with quick and discerning kindness, if it seemed to him praiseworthy. But pretence and shallow cleverness he withered wherever he found them. His capacity for labor, for continuous and prolonged painstaking, was limitless. Because he concealed this and pretended to work lightly and carelessly, people thought him idle; but he was not. Industry, he said, was an absolute necessity, not a virtue, and a work of art, when finished, should show no trace of the labor that had produced it. ‘Work alone will efface the footsteps of work.’ In fact, it was only in age that he discovered that he had never done anything but work. ‘It struck me that I had never rested, that I had never done nothing, that it was the one thing I needed.’ He could not tolerate laziness in himself or in others. In his house there were no armchairs, and to a friend who complained of this, he remarked, ‘If you want to rest, you had better go to bed.’ But his friends and pupils did not want to rest when he was with them. ‘ Whistler invariably inspired people to work,’ says one who knew him well. The sittings for his portraits were prolonged and repeated, till the sitters’ patience was utterly exhausted, and some of them complained that the intensity of his effort seemed to draw the very life out of them. In short, those who judge him by his quarrels and his bickerings and his flippancy and his odd clothes get no idea of the deep, conscientious earnestness of the artist. He worked till death to produce beautiful things. A year before he died he insisted with passionate simplicity and sincerity, ‘I would have done anything for my art.’ He was always looking forward, and there are few finer expressions of the ardor of creation than his noble phrase, ‘An artist’s career always begins tomorrow.’ IV It is not my business to discuss Whistler’s art as such. But as the general’s soul is revealed in his battles and the preacher’s in his sermons, so in his pictures we must seek the painter’s, and the psychographer considers work as well as words. It appears, then, that in Whistler’s art there are two marked elements, which, taken together, help largely to elucidate his spirit. The first of these is the element of truth, sincerity, precision, exactitude, showing more conspicuously in the etchings, but never neglected in any of his work at any time. As he himself said of the Thames series of etchings, ‘There, you see, all is sacrificed to exactness of outline.’ This instinct of truth, of reality, should be closely related to the more external facts of Whistler’s life. In combination with the childlike simplicity and openness, it entered largely into his everlasting quarrels. He did not quarrel in Paris — that is, not abnormally. But all the artist in him, all the truth-lover, revolted against the conventions of English Philistinism, and he fought them, whether critical or social, with all the passion that was in him. ‘The wit of Whistler . . . was the result of intense personal convictions as to the lines along which art and life move together,’ says one of his most intelligent biographers. As applied to life, this instinct of truth in him was mainly destructive, and did little good to him or others; but it was obscurely lofty in aim, and it was an integral part of his better nature. In art, on the other hand, the destructive instinct led at once to construction. Here too, indeed, there was the perpetual, deadly war on sham. Whistler saw all around him, in painting as in poetry, the Victorian excess of sentiment. The ‘heart interest’ was what counted, and execution was a minor matter. The Angelus and Evangeline would make a world-wide reputation, even if the workmanship was inferior. Against this heresy of the subject Whistler was in constant revolt. He did not sufficiently realize that a great artist may treat a great subject, though it too often happens that to the common eye a great subject may transfigure a mean conception and a xml gar handling. He wanted to shake art free from all these adjuncts of theme and historical association and historical development, and concentrate the artist’s whole effort on the pure ecstasy of line and color. He pushed this so far as to revel in mere decorative richness, feeding and filling his eye and imagination with the azure and golden splendors of the Peacock Room. But of course, if you had pushed him home, he would have admitted that in the end all beauty must lie in human emotion, vague suggestions and intimations of subtle feeling, all the more overpowering because indefinite. And the real purpose of getting rid of a distinct, trite subject was to allow these essential emotions richer play. Music, in which he so often sought analogy, would have given it to him on this point also. For the most elaborate orchestral symphony depends as fundamentally on human emotion for its significance as does the simplest air. And Bach and Wagner appeal to realms of feeling equally deep, though widely different. The most original and suggestive part of Whistler’s painting, if not the greatest, is that which enters most into this vast, uncharted region of intangible emotion. Of all things he loved to paint night; and what in the wide world is more throbbing with imaginative depths? ‘Subject, sentiment, meaning were for him in the night itself — the night in all its loveliness and mystery.’ Here we seize the second cardinal element in Whistler’s work — the element of mystery. What characterizes his range of vague emotion is not passion, not melancholy, but just this sense of mystery, of the indefinable, the impalpable. It is singular how all the critics, whatever their point of view, unite in distinguishing this, something vague, something elusive, some hidden, subtle suggestion which cannot be analyzed or seized in words. It is naturally more marked in the nocturnes and similar paintings, but it is perfectly appreciable also in the portraits and in the etchings: the handling of backgrounds and accessories, the delicate, evasive gradation of tints and shades. As Huysmans puts it, ‘these phantom portraits, which seem to shrink away, to sink into the wall, with their enigmatic eyes.’ And note that the two elements must work together to produce their full effect. It is the intense sense of definiteness, of clearness, the extraordinary realistic emphasis on one salient point, that doubles the surrounding suggestion of mystery. In the secret of making precision, vivid definition, enhance and redouble the obscure, Whistler shows his debt to Poe, who was always rescued from mere melodrama by having this obsession of mystery as overwhelmingly as anyone who ever lived. But there is another influence that may have affected Whistler in this regard, and that is Russia. I cannot find that any critic or biographer has suggested this. Yet the artist passed the most impressionable part of his youth in Russia. His eyes, his ears, his heart were wide open all that time. Not only Russian painting, but Russian music and Russian thought must have passed into them. He must have touched the Orient there, as he did later through Japan. And surely the essence of Russian art is in just this union of intense, bald realism with the most subtle, far-reaching suggestion of the unlimited, the unexplored, the forever unknown. Russia is childhood intensely sophisticated. And so was Whistler. It is curious to reflect that the combination in Whistler of the most lucid, direct, energetic intelligence with the complete general ignorance that I have noted earlier led to exactly this result of the vivid union of precision with mystery. Clear-sighted and observant as he was, there is no sense of modern life in him, no portrayal of the quick, active, current movement of the contemporary world, no such of any world. The intelligence seems to clarify simply for the purpose of obscuring. The total result of the age-long evolution of such a magnificent instrument as human reason is to stultify it, to show with blinding flashes the boundless region of impenetrable shadow. And in this phase of Whistler’s art nothing is more symbolical and suggestive than the nocturne with fireworks. The glare of the rocket makes the involving darkness oppress you with a negative visibility that is maddening. It is in view of this union of intense intellectual clearness with mystery that we must read all Whistler’s perplexing remarks about Nature. Nature was crude multiplicity. To the unseeing eye, to the unaided imagination, she would not yield her secret or tell her story. It was the artist’s business and his triumph to select, to isolate, to emphasize, to coördinate, so as to suggest the emotion he wished to convey, no other and no more. Here again, the parallel of music would have illustrated better than any analysis of painting. Even’ sound that music uses is given in nature, but given in a vast and tangled disorder, which as often results in pain as in pleasure. The musician’s genius brings this chaos into a harmonized scheme of ordered ecstasy. In Whistler’s idea the final and perfect triumph of human intelligence was the transformation of confusion into mystery. Many have been perplexed by his dislike of the country, and even abuse of it. The explanation is simple. In the first place, he had never lived in the country. His experience of it was the tourist’s, and nature to the tourist is a mere panoramic display, a succession of vulgar excitements from an ever-higher mountain or deeper sea. Nature to the tourist is scenery, not feeling. This is what Whistler meant when he returned from a visit to the English lakes and said the mountains ‘were all little round hills with little round trees out of a Noah’s ark’; when he complained in general that there were too many trees in the country, and even grumbled to a friend, who urged the glory of the stars, ‘there are too many of ’em.’ If he had grown up with an exquisite threshold beauty, such as hovers in the lovely lines of Cowper, — his brush would have drawn out the charm as few have ever done before. But he dwelt in cities. Huge casual doses of nature first surfeited and then starved him. Moreover, he held, perhaps justly, that the deepest fountains of mystery are not even wide fields and quiet skies, but the human eye and the human heart. It is needless to say that the theory of mystery as I have elaborated if — perhaps too subtly — is not explicit in any writing or recorded speech of Whistler himself. When one has it in mind, however, there is a curious interest in catching the notes and echoes of it in his own words. Thus, in practical matters, take his remark to one who commented on the unfinished condition of the painter’s abode, ‘You see, I do not care for settling anywhere. Where there is no more space for improvement, or dreaming about improvement, where mystery is in perfect shape, it is finis — the end — death. There is no hope nor outlook left.’ Or take the same instinct in a more artistic connection. ‘They talk about the blue skies of Italy. — The skies of Italy are not blue, they are black. You do not see blue sides except in Holland and here, or other countries where you get great white clouds, and then the spaces between are blue! And in Holland there is atmosphere, and that means mystery. There is mystery here, too, and the people don’t want it. What they like is when the east wind blows, when you can look across the river and count the wires in the canary bird’s cage on the other side.’ Finally, take the wonderful words about painting in the twilight, as full of mystery and vague suggestion as a poem of Shelley. ‘As the light fades and the shadows deepen, all the petty and exacting details vanish; every triviality disappears, and I see things as they are, in great, strong masses; the buttons are lost, but the garment remains; the garment is lost, but the sitter remains; the sitter is lost, but the shadow remains. And that, night cannot efface from the painter’s imagination.’ Even allowing for the touch of Whistler’s natural irony, such a view of art seems to amend Gautier’s celebrated phrase into, ‘I am a man for whom the invisible world exists,’and to give double emphasis to the lines of Keats, — So we find in Whistler, as we found implicit in Mark Twain and explicit in Henry Adams, the immense and overwhelming heritage of ignorance transmitted by the nineteenth century to the twentieth. But whereas Mark erected ignorance into a dogmatic religion of negation, and Adams trifled with it as a toy, Whistler drew from it the enduring comfort of artistic effort, and applied to its persistent torment the immortal, divine recipe for cure of headache, heartache, soul-ills, body-ills, care, poverty, ignominy, neglect, and pain — the creation, or even the attempted creation, of things beautiful.
6282	dbpedia	3	28	https://crimereads.com/the-15-most-film-adapted-women-crime-writers/	en	The Women Crime Writers with the Most Film Adaptations	https://s26162.pcdn.co/w…-the-musical.jpg	https://s26162.pcdn.co/w…-the-musical.jpg	[ "https://s26162.pcdn.co/wp-content/themes/lithub-crimereads/images/crime-reads-logo.png", "https://s26162.pcdn.co/wp-content/themes/lithub-crimereads/images/crime-reads-logo.png", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/10/Agatha-Agatha-the-musical-960x430.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/AgathaChristie-FTR.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/Patricia-Highsmith.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/Screen-Shot-2018-09-12-at-6.54.26-PM.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/35515281d2911c7387710811805fe5a5.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/ruth-rendell-cr-jerry-bauer1.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/Miyuki-Miyabe.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/natsuo-kirino.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/armstrong-for-website.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/Vera-Caspary.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/K_Fossum.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/Masako-Togawa.docx.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/claudia_pineiro_1.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/KanaeMinatocreditAyakoShimobayashi.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/ElisabethSanxayHolding3-300x200.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2018/09/dorothybhughes.jpg", "https://s26162.pcdn.co/wp-content/uploads/2024/07/Molly-Odintz-headshot-150x150.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2023/09/CR-tote-AdobeStock_163341385-300x200.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2024/06/Quiz-2-726x400.jpg", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2024/06/Quiz-150x150.jpg", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lithub-logo.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-rec.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/bookmarks-logo.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-rec.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/plugins/lb-content-widgets/img/lazy-sq.png", "https://s26162.pcdn.co/wp-content/uploads/sites/3/2024/07/cr-holder-01-300x300.jpg", "https://pixel.quantserve.com/pixel/p-sPcTBQa5YQLu3.gif", "https://s26162.pcdn.co/wp-content/themes/lithub-crimereads/images/CR-tote-small.png" ]	[]	[]	[ "" ]	null	[ "Molly Odintz" ]	2018-10-04T09:10:36+00:00	While the world at large bemoans the lack of opportunity for women directors, Hollywood has never felt the same reluctance when it comes to female novelists, happily assigning the biggest directors…	en	https://s26162.pcdn.co/w…h-icon-57x57.png	CrimeReads	https://crimereads.com/the-15-most-film-adapted-women-crime-writers/	While the world at large bemoans the lack of opportunity for women directors, Hollywood has never felt the same reluctance when it comes to female novelists, happily assigning the biggest directors of the era to tackle complex subjects and reinterpret them in filmic code. It’s easy to forget how many films have been adapted from works by women writers, given how frequently the textual basis for famous films has been allowed to go out of print. (Many of the authors mentioned below I came to first through their cinematic mirrors before I came to know them as words.) Thanks to the Feminist Press at CUNY and their Women Write Pulp Series, the Vintage Movie Classics series, the Women Crime Writers series from Library of America, the Dover Crime Classics series, and NYRB’s thankfully endless reissues of classic works (as well as the forthcoming American Classic Mystery series from Mysterious Press) many novels that had been hitherto replaced by their more famous film cousins are now back to being available in print, an essential element in setting text and interpretation up as equally worthy of study. A note on methodology: Data for this post has been primarily gathered through IMDB, Google searches, and through the CrimeReads’ editors knowledge of crime authors. If there are important names missing from this list, please let us know in the comments section—this is an evolving project. The following writers are ranked by the number of feature films made based on their works, which means TV movies, TV shows, and short films were not counted. This list thus skews towards writers from before the age of television, and many of the 21st century’s biggest crime writers are as consequence missing from the list.All films included are based on work separately published before appearing in film versions, which means that we did not include works where women writers had written an original story for a film. There are also several writers on this list who wrote in multiple genres, included because they had a strong mystery component to their writing, and thus there may be some films counted towards each total that are not strictly mystery films. We also did not count films in production but not yet released, which is why Gillian Flynn is notably absent. Agatha Christie 45 feature films The queen of crime has 45 film adaptations under her belt, with another 3 announced or in production. This giant oeuvre includes at least 7 adaptations of And Then There Were None, filmed all over the world, and with, unfortunately, every version of the title (into the 1980s, a Russian adaptation used a direct translation of the book’s original, and cringe-worthy, title). While most films adapted from Christie’s novels have been British or American productions, there are a number of Soviet and Indian films based on her work. She’s been the darling of various directors—George Pollock directed 4 different films based on her work throughout the 1960s, and now Kenneth Branaugh’s taking his turn revisiting her masterpieces, and yet Christie hasn’t had a single feature film based on her work directed by a woman (the case may be different for tv adaptations—lest we never finish this list, we elected to leave tv for another day). Agatha Christie always pointed to Crooked House as a favorite of her own works and it’s no surprise that Crooked House has been filmed multiple times. Article continues after advertisement Patricia Highsmith 20 feature films When I started this list, I thought for sure that Highsmith would top it (although I should never have discounted the vast filmography of Dame Christie), but Highsmith, with 20 feature film adaptations under her belt, came in a respectable second place. Many of these are adaptations of her Ripliad: The Talented Mr. Ripley was first brought to screen in 1960 as Plein Soleil/Purple Noon, directed by Réné Clémont, and beyond the argument that occasionally consumes our office as to which adaptation is better, Purple Noon or Anthony Minghella’s slicker, more faithful eponymous 90s adaptation, I think everyone can agree that Tom Ripley was meant to be on-screen. Wim Wenders contributed to the filmed Ripliad with The American Friend, adapted from Ripley’s Game and filmed with an unusual approach to language, switching between English and German. Liliana Cavalli, of Night Porter fame, also took a more recent swing at the same story in her 2002 film Ripley’s Game. Beyond the Ripliad, Highsmith had quite a few big-name directors attached to her work, including Hitchcock’s incomparable adaptation of Strangers on A Train, and Claude Chabrol’s Le Cri de Hibou/The Cry of the Owl, while not as renowned as some of the other adaptations of her work, is still considered a solid contribution to the canon. We can only hope that the success of Carol leads to even more adaptations of her standalone works. Finally, if imitation is the sincerest form of flattery, and parody is the sincerest form of imitation, then we also have to include a shout-out to Danny Devito’s loving parody of Strangers on a Train, simply titled Throw Mama from the Train, a modern classic. (We assume. We still haven’t seen it…) Daphne du Maurier 14 feature films In third place comes the queen of gothic suspense, Daphne du Maurier, with 14 film adaptations. Du Maurier may be best remembered today for her novel Rebecca, which is either a psychological thriller about the dangers of marriage, a romance for the ages, or a metaphor for closeted lesbian upper-class existence (or all three!), but she also wrote the stories that were the basis for Hitchcock’s The Birds and Nicholas Roeg’s haunting Don’t Look Now, both stories newly available in New York Review of Books’s classic editions. Rebecca was first brought to cinema in 1940 by Hitchcock, then later adapted in Hindi cinema as Kohraa (Fog) in 1964 by Biren Nag, with a twist ending that provided a significant departure from the source material, and the more recent Bollywood film Anamika. Reportedly, Jamaica Inn was both Daphne du Maurier’s least favorite adaptation of her work and one of Hitchcock’s least favorite films, after RKO studios forced Hitchcock to change the film’s ending to preserve the star’s image as a good guy. Baroness Emma Orczy 14 feature films Tied for third place is golden era crime’s most aristocratic figure, the Baroness Emma Orczy, creator of the Scarlet Pimpernel, the elusive secret agent responsible for rescuing many a French aristocrat from the clutches of the revolution before smuggling them to safety with an utmost amount of derring-do. Many of us may only be familiar with this character because of his unfortunate interactions with Blackadder, but from the silent era through to the talkies, the Scarlet Pimpernel and other characters created by Orczy appeared in 14 feature films (plus tons of shorts), with such winning titles as The Elusive Pimpernel, The Laughing Cavalier, and my favorite, Pimpernel Smith, which is sadly not an exploitation film remake of the Scarlet Pimpernel no matter how much it sounds like it should be. There’s also a Swedish parody called Pimpernel Svensson, and speaking of parodies, now that I’ve typed out those titles next to each other, I realize that these films are EXACTLY what Singing in the Rain is making fun of. I mean, The Dancing Cavalier, come on…The Pimpernel hasn’t appeared in a film since 1950, but thanks to innumerable parodies, the character will live on. Ruth Rendell 9 feature film adaptations Ruth Rendell, who also wrote under the pen name Barbara Vine, dominated the 80s and 90s with her chilling series and feminist stand-alones, so much so that she’s barely been mentioned in the crime world in this century. After years of neglect, it’s time to revisit her work, including the many great films based on her novels (and some mediocre films based on great novels). La Cérémonie, Claude Chabrol’s 1995 adaptation of A Judgement in Stone, is reputed to have been her favorite, and Chabrol himself had a life-long interest in adapting English-language crime novels by women into French crime films, as you’ll see when we get Charlotte Armstrong, now little-known in the English-reading public but still revered in France thanks to Chabrol’s many adaptations of her work. Other big-name directors attached to Rendell’s work include Pedro Almodóvar, whose 1997 adaptation of Live Flesh met with much critical acclaim. Miyuki Miyabe 8 feature films Miyabe’s known for writing in many genres in her native Japan, but so far, only her books for younger readers seem to have made their way into American hands. Luckily for us, crime cinema knows no bounds (or at least generally comes with an English subtitles option), so we can enjoy her grittier work through numerous film adaptations. Many of her works veer into camp and horror territory, so for a taste of Miyabe at her cold-hearted crime-y best, check out the 2004 flick The Reason, in which the murders of four residents in an apartment block is the catalyst for an unholy reckoning. She’s also now got her own mini-franchise running with two films and one television adaptation of Solomon’s Perjury, in which schoolchildren team up to solve the murder of a classmate. Natsuo Kirino Five feature film adaptations Also hailing from Japan, Kirino has enjoyed more recognition for her crime fiction in US markets, centered around her classic tale of murder and coverups gone bad, Out. She’s had five novels adapted to cinema, including the critically acclaimed Yawaraka na hou, based on A Tender Place, and the less-than-masterful adaptation of Out, which comes with the wince-worthy tagline of “Four down on their luck housewives murder their husbands and find whacky ways to hide the bodies!” There’s not all that much information in English about the rest of these films, so if you’re into updating IMDB, now’s the time. Charlotte Armstrong Five feature film adaptations Charlotte Armstrong is tied with Natsuo Kirino with five feature film adaptations each. Armstrong, like Ruth Rendell, was a darling of Claude Chabrol, with two novels made into feature films by him, including Merci Pour le Chocolat, based on the novel The Chocolate Spiderweb, and La Rupture, based on the novel The Balloon Man. She also had three films made in English-language markets, including Don’t Bother to Knock, a naughty 1950s mystery starring Marilyn Monroe. Although Armstrong’s works have been out of print in the States for some time, that will soon change with the reissue of several of her works through the new series American Mystery Classics, issued from Penzler Publishers. Vera Caspary Five feature film adaptations Vera Caspary worked in Hollywood and wrote a number of screenplays as well as treatments, but for the purposes of this list she’s at four feature film adaptions of her separately published work, including three films from the 1930s based on short stories and two films from the 1940s based on her novels Laura and Bedelia, each keeping the same title in film form. Laura, directed by Otto Preminger, is essential viewing to this day (especially in this new era of the girl in the title), while Caspary’s screenwriting talent is on full display in Bedelia, which she adapted herself. Karin Fossum Four feature film adaptations Fossum is known as the “Norwegian Queen of Crime,” and her dark, moody thrillers with murder among the fjords have been enjoyed by crime fans across the world, and adapted into four feature films. She tops this list for the number of books adapted to cinema by women directors, with two of the films based on her work directed by women: Eva’s Eye, directed by Berit Nesheim, and House of Fools, directed by Eva Isaksen. No other crime writer on this list has had more than one adaptation with a female director. Her quiet, suspenseful works infuse her Norwegian setting with an unsettling menace, lending a visual quality to her writing that translates well to the screen. Masako Togawa Four feature film adaptations Masako Togawa wore many hats—in addition to writing crime and suspense novels, she was also an early champion of GLBTQ rights in Japan, and worked as an actress, singer, and nightclub owner. So basically, she sounds like the coolest person ever. Her work The Master Key was reissued earlier this year from Pushkin Press, and we hope this signals a new era of appreciation for both her life and works. All of the films adapted from her work came out on the 60s and 70s, and Togawa not only wrote but acted in the first film to be based on her work, The Hunter’s Diary (1964). Claudia Piñeiro Four feature film adaptations Argentinian crime writer Claudia Piñeiro tops this list from the Latin American crime scene, which shouldn’t be a surprise, given Argentina’s dedication to both great crime fiction and great filmmaking. Piñeiro’s work has recurring themes of secrecy, privilege and corruption, with Argentina’s turbulent history making frequent appearances. Most of the films adapted from her work have come out in the last few years, and we can hopefully expect many more of her novels to make it to the silver screen. Kanae Minato Four feature film adaptations Kanae Minato led a quiet life as a housewife before she burst onto the international scene with some truly effed up books that explore the many dysfunctions of the modern world and the pressures of childhood in detached, fairy-tale prose. Minato is tied with Piñeiro and Togawa at four film adaptations, and what hasn’t been adapted to cinema has made its way to television, with television films and miniseries galore filling out her repertoire. Minato was nominated for an Edgar last year for her ultra-creepy work Penance, and we’re hoping this translates into increased attention for all her works. Elisabeth Sanxay Holding Three feature film adaptations Sanxay Holding worked as a novelist and screenwriter, and wrote the original stories for a number of films in addition to having three feature film adaptations of her work, including two different films based on The Blank Wall, one of the works included in Sarah Weinman’s seminal anthology of classic women crime writers and one of the greatest works of American mid-century fiction. While her work hasn’t hit the English-language screen since the 1950s, Le Candide Madame Duff, a French film based on her work, was released in 2010, and with recent reissues, the 21st century promises to be kinder to Sanxay Holding’s memory than the latter half of the 20th. Dorothy B. Hughes Three feature film adaptations Dorothy B. Hughes is another crime writer to be experiencing a renewed interested in recent years, although its been a group effort to keep her classic work In A Lonely Place in print, with three separate reissues in the past 20 years alone, issued by The Feminist Press, Library of America, and New York Review of Books. Nicholas Ray’s 1950 adaptation of In A Lonely Place is not to be missed, although it’s hard to say if any film could measure up to the cool brilliance of Hughes’ greatest work. Hughes also worked as a screenwriter, and you can find her name attached on the Hollywood side to many a picture.
6282	dbpedia	3	53	https://www.thecollector.com/red-herring-moments-films-open-mouthed/	en	What Is a Red Herring? History & Cinematic Applications	https://cdn.thecollector…open-mouthed.jpg	https://cdn.thecollector…open-mouthed.jpg	[ "https://www.thecollector.com/_next/image?url=%2Fimages%2Flogo.jpg&w=384&q=75", "https://www.thecollector.com/_next/image?url=%2Fimages%2Flogo-light.png&w=384&q=75", "https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=480&quality=70 480w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=600&quality=70 600w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=640&quality=70 640w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=750&quality=70 750w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=828&quality=70 828w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=1080&quality=70 1080w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=1200&quality=70 1200w, https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-moments-films-open-mouthed.jpg?width=1400&quality=70 1400w", "https://cdn.thecollector.com/wp-content/uploads/2023/10/red-herring-origin-hunting.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/audience-cinema-red-herring.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/films-plot-twist-red-herring-shock.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/whodunnit-clue-detective-red-herring.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/golden-age-tv-series-red-herring.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/psycho-alfred-hitchcock-thriller-film-red-herring.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/joker-joaquin-phoenix-red-herring.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/10/fight-club-plot-twist-red-herring.jpg", "https://www.thecollector.com/images/double-quotes.png", "https://cdn.thecollector.com/wp-content/uploads/2023/07/Theo-Kapetanakis-author.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/09/hero-archetypes-you-should-know-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2024/02/narrative-film-techniques-you-should-know-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/06/who-invented-first-motion-picture-camera-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2024/01/chantal-akerman-jeanne-dielman-greatest-film-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2020/10/van-gogh-gun-photograph-installation-famous-artists-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/01/why-is-the-orient-express-so-famous-768x442.jpg", "https://cdn.thecollector.com/wp-content/uploads/2023/07/sherlock-holmes-arthur-conan-doyle-768x442.jpg", "https://www.thecollector.com/_next/image/?url=%2Fimages%2Flogo-light.png&w=256&q=75 1x, /_next/image/?url=%2Fimages%2Flogo-light.png&w=480&q=75 2x", "https://www.thecollector.com/_next/image/?url=%2Fimages%2Flogo-light-m.png&w=32&q=75 1x, /_next/image/?url=%2Fimages%2Flogo-light-m.png&w=64&q=75 2x" ]	[]	[]	[ "" ]	null	[ "Theo Kapetanakis" ]	2023-10-21T20:11:46	The red herring is a powerful storytelling tool and a unique plot device that creates a gaping experience for the audience.	en	/favicon/apple-touch-icon.png	TheCollector	https://www.thecollector.com/red-herring-moments-films-open-mouthed/	Storytellers are in the position to determine whether a story will be interesting, boring, emotional, or even snarky through its narration. Obviously, a unique approach captivates the audience by forcing them to stay on their toes as the story unfolds in front of their eyes. For those reasons and many more, filmmakers fancy a good lie and they love to deceive and mislead their audience by using an elaborate narrative technique called the red herring, The term Red Herring dates all the way back to the early 1800s. In the old days when hounds were trained for fox hunting, they were expected to possess the ability to avoid any kind of distractions and not be set off by any other scent. Therefore, a red herring fish would be used as bait’ in order to test a dog’s abilities. The hunter-trainer would drag the decoy with its special strange scent over the fox’s tracks as well as back and forth across the fox’s trail. The well-trained hound had to stay focused and keep following the fox’s scent without being distracted by the red herring, which could easily lead dogs to the wrong path of following a fish instead of a fox. This age-old practice is deeply embedded in our history. It’s a kind of testament to sticking with it and remaining focused no matter what. It shows that when distractions might come knocking, but keeping your eyes on the prize is what gives us remarkable results. That is where the cinematic term red herring came from. Red herring in films serves as a decoy capable of disorienting the viewer by leading their thinking away from the true aspect of the story. Just like a well-trained hound can tell apart a distracting red herring from genuine fox tracks, in the fascinating world of cinema and storytelling, there are paths that can either confuse the audience or guide them directly to the true meaning of the story. The writers and directors plant seeds of false information into the plot, trying to subtly distract the reader from the general truth of the story. Sometimes this can be a clue, sometimes it might be a character, or simply any other piece of information that directs our thinking into believing a reality that later comes crashing down in front of our eyes. These red herrings in storylines can be everywhere. No one wants to waste hours and hours reading or watching a mystery that can easily be solved. Deliberately misleading the audience achieves suspense, shock, and finally the desired plot twist in the end. This is the key contribution of this enigmatic and dynamic narrative technique. If the question of how could I have missed this is in most of the viewer’s heads, it means that a red herring has been used well. Nowadays, modern audiences and present-day readers are insightful and can easily nose out obvious red herrings. This new reality made creators more imaginative. Obviously, this narrative technique needed to evolve from its original ways. As the audience’s radar for red herrings gets better, creators find themselves at the crossroads of challenge and opportunity. The narrative journey now demands unexpected twists and turns in the story, capable of keeping both sides engaged and focused. An Open-Mouthed Film Experience The red herring as a plot device, in film and literature, is inextricably linked to the mystery of a certain murder. This type of deception is often found in mystery films or the popular whodunnit films, novels, or plays that refer to stories about murders where the killer is not revealed right until the end. The audience is on constant alert, looking for signs that will rule out a character as a suspect and reveal the real killer. The suspects are investigated by a famous detective and simultaneously by the viewer. The challenge of an unsolved riddle is the reason why the audience is successfully engaged with the flow of the plot. Writers and directors often play with our expectations. Our historical knowledge about real-life events or historical figures can easily turn into a cheeky red herring. The flow of historical events can be distorted in a film. This is a classic case of red herring with historical subversion. This historical falsification also changes the fate of the characters, perhaps creating a more satisfying alternate reality for the amazed audience. Braveheart (1995), directed by Mel Gibson, is a prime example of historical falsification in cinema. Many events and characters in the movie are fictionalized or exaggerated. While the classic film is based on the life of William Wallace and the Scottish Wars of Independence, it takes significant liberties with historical accuracy for the sake of dramatic storytelling. In the realm of the film industry, the use of recognizable faces and names in casting and marketing often misleads the audience, creating the impression that these well-known characters will remain alive and untouchable until the end of the story. This phenomenon was notably utilized by the masterful director Alfred Hitchcock in his classic film Psycho (1960) where this strategy has been boldly used as a trick to provoke questions and thoughts capable of turning any viewer into a future fan of this cinematic masterpiece. In the world of entertainment during the Golden Age of television, TV shows frequently applied the use of red herrings. In the grand scheme of things, storylines became longer and more interesting, something that kept viewers engaged and eager to watch the next episodes. When the audience realizes that any character could potentially be written out of the show, a sense of excitement, along with the perception that everything is unpredictable, adds to the overall suspense of a TV series. A plot twist is an unexpected development of a story that radically changes the outcome of the whole plot. After the big reveal, the story looks completely different, and the shape of reality changes in an instant. An extremely common application of the red herring in the film industry happens when the story is presented through the eyes of a psychologically unstable character. Whatever seems reasonable and real to this character might be far from the objective truth. This is the starting point of the artful manipulation of the audience’s perceptions. This dynamic encourages the audience to actively decode or question the authenticity of what they’re witnessing. When it comes to the portrayal of characters in a film, deception can take on various forms and approaches. Often, this kind of deception revolves around altering the form or appearance of a character, creating a misleading impression for the audience. In such instances, the film’s plot twist unveils a jaded secret, revealing that two seemingly separate characters are, in fact, the same person. For example, one of the two characters was the Narrator’s imaginary alter ego in the first place. This reversal gives a completely different meaning to all the previous actions. In that case, the red herring effect creates a dynamic emotion as the story becomes more and more intense. A structured narration with distinct events on a storyline suddenly changes. Finally the jaded truth shocks and fascinates the audience. The solution to this enigmatic riddle often turns into a feeling of pleasure that comes as a result of the emotional climax in the last act of a play or film. A successful plot twist could be the magical moment that viewers will talk about for years. At the end of the day, cinema is about feelings and a good film has to keep you on the edge of your seat with its jaw-droppingly fantastic storytelling.
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"https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WOMANONTHERUN1950.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WORLDFORRANSOM1954.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WRONGMANTHE1956.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/374420498.jpg?1689793282", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/296521241.jpg?1689793275", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/152731609.jpg?1689793302", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/pre-code-2.jpg?1693249570" ]	[]	[]	[ "1950s Suspense Movies", "1950s Crime Dramas", "Film Noir", "3 STEPS TO THE GALLOWS", "5 FINGERS", "711 OCEAN DRIVE", "99 RIVER STREET", "ACCUSED OF MURDER", "ANGEL FACE", "ANOTHER MAN'S POISON" ]	null	[]	null	What the World War II era was to 1940's film noir, the Cold War era was to 1950's noir. These films reflected the fear, mistrust, and paranoia of the Cold War era - and the unease of the threat of nuclear annihilation. The 50's saw a departure of th	en		The Timeless Theater	https://www.timelesstheater.com/1950-suspense.html	What the World War II era was to 1940's film noir, the Cold War era was to 1950's noir. These films reflected the fear, mistrust, and paranoia of the Cold War era - and the unease of the threat of nuclear annihilation. The 50's saw a departure of the more simplistic hard-boiled detective and criminal characters , in favor of darker psychological character studies of anti-heroes. We also saw a spread of noir-influenced Westerns ("Pursued") and Science Fiction ("Invasion of the Body Snatchers"). While absent the larger budgets of the previous decade, many crime and suspense films of the1950's were relegated to the lower budget, B-movie status - albeit their budgetary restrictions, these same films helped define the Film Noir genre. Notable actors featured in this era include: Edmond O'Brien, Joanne Dru, John Payne, Evelyn Keyes, Glenn Ford, Rita Hayworth, Robert Mitchum, Robert Ryan, and Dana Andrews.
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"https://www.esquire.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523000000&id=social-button-icon", "https://www.esquire.com/_assets/design-tokens/esquire/static/images/logos/network-logo.910b3ba.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Bria McNeal", "Ammal Hassan" ]	2021-01-08T13:58:19.923878-05:00	From classic noirs to inventive modern twists, these are the 40 best murder mystery movies of all time.	en	/_assets/design-tokens/esquire/static/images/favicon.9bd3ce0.ico	Esquire	https://www.esquire.com/entertainment/movies/g35128596/best-murder-mystery-movies/	Murder mysteries are the crème de la crème of cinema. They’re enticing, they’re entertaining, and they require your full attention. You can’t scroll through TikTok while a mystery unfolds. You’ll miss a clue! If you’re hoping to become an armchair detective or test how long you can go without your phone (it’s hard, we know!), then consider a mystery for your next movie night. Are you interested in a modern whodunit? Check out The Blackening. Do you like psychological thrillers? Try Bong Joon-ho’s Memories of Murder for a scary movie with a mysterious spin. Looking for a challenge? Turn on The Silence of the Lambs—it has one of the best twists of all time. And there are plenty more to choose from. Below, we’ve rounded up 29 murder mysteries that are begging you to solve them. So grab your sleuthing gear, take a scroll, and press play. Your investigation awaits.
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Driven by greed, he resorts to murder for a fortune, but the aftermath unveils twisted truths, revealing that betrayal bites back in this chilling tale of deception.
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"https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/14141441/Alien_Romulus_Reviews-Rep.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/14135521/The_Gentlemen_TV-600x314-1.jpg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Discover movies like Shutter Island: Memento, The Game, The Machinist and 17 more!	en	https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/static/images/icons/favicon.ico		https://editorial.rottentomatoes.com/guide/20-movies-to-watch-if-you-loved-shutter-island/	Martin Scorsese followed his Best Picture and Director-winning The Departed with his most directly entertaining, plot twist-heavy movie, a psychological thriller starring Leonardo DiCaprio investigating a remote asylum with a missing patient. Of course, it’s apparent from the beginning things aren’t as they seem… If you’re looking for more movies like Shutter Island, why not start with the grandaddy of unreliable narrator movies: The Cabinet of Dr. Caligari. It may be 100 (!) years old, but it still has the power to spook and captivate. Part of Shutter Island‘s fun is that it encourages viewers to participate in solving the mystery, poke holes in the movie’s established reality, and look for the actual truth. It requires filmmaking mastery to create these puzzle boxes, so it’s not surprising some of our most beloved directors built their reputation on these: Alfred Hitchcock (Rebecca, Vertigo), David Fincher (The Game, Gone Girl), Christopher Nolan (Inception, Memento), Darren Aronofsky (Black Swan), and David Lynch (Mulholland Drive). Movies like Shutter Island are all about building paranoia, like the hero has tapped into something true and sinister that nobody else is taking seriously. And frequently they’re told from a female perspective: Along with the already mentioned Black Swan, there’s also The Girl on the Train, the classic Diabolique, and Clint Eastwood’s Changeling, starring Angelina Jolie, who’s convinced the missing son the police have returned to her is not her boy. Psychological thrillers like Shutter Island differ from typical mysteries in that the nature of the film itself is the central mystery, as opposed to, say, figuring out who the murderer is. Movies in this vein include Open Your Eyes (remade as Vanilla Sky), John Frankenheimer’s Seconds (which helped drive Brian Wilson over the edge in real life), the sci-fi noir Dark City, the relentlessly scary Jacob’s Ladder, and A Scanner Darkly, arguably Keanu Reeves’ best movie made in that period between The Matrix and the Keanussance. And if you’re looking for something more basic and primal, check out Identity or Secret Window. Not too taxing on the mind, but they’ll still give it a good twist. —Alex Vo #20 #20 Adjusted Score: 58916% Critics Consensus: Emily Blunt's outstanding performance isn't enough to keep The Girl on the Train from sliding sluggishly into exploitative melodrama. Synopsis: Commuter Rachel Watson (Emily Blunt) catches daily glimpses of a seemingly perfect couple, Scott and Megan, from the window of... [More] Directed By: Tate Taylor #19 Secret Window (2004) 45% #19 Adjusted Score: 50096% Critics Consensus: Depp is quirkily entertaining, but the movie runs out of steam by the end. Synopsis: While in the process of an ugly divorce from his wife (Maria Bello), writer Mort Rainey (Johnny Depp) relocates to... [More] Directed By: David Koepp #18 Changeling (2008) 62% #18 Adjusted Score: 70411% Critics Consensus: Beautifully shot and well-acted, Changeling is a compelling story that unfortunately gives in to convention too often. Synopsis: In 1928 Los Angeles, single mother Christine Collins (Angelina Jolie) arrives home to find her son, Walter, gone. Five months... [More] Directed By: Clint Eastwood #17 Identity (2003) 63% #17 Adjusted Score: 68807% Critics Consensus: Identity is a film that will divide audiences -- the twists of its plot will either impress or exasperate you. Synopsis: When a vicious storm breaks out in the Nevada desert, 10 people seek refuge in an isolated motel. At the... [More] Directed By: James Mangold #16 A Scanner Darkly (2006) 68% #16 Adjusted Score: 75610% Critics Consensus: A faithful adaptation of Philip K. Dick's novel, A Scanner Darkly takes the viewer on a visual and mind-blowing journey into the author's conception of a drug-addled and politically unstable world. Synopsis: In the near future, as America virtually loses the war on drugs, Robert Arctor, a narcotics cop in Orange County,... [More] Directed By: Richard Linklater #15 Jacob's Ladder (1990) 72% #15 Adjusted Score: 77474% Critics Consensus: Even with its disorienting leaps of logic and structure, Jacob's Ladder is an engrossing, nerve-shattering experience. Synopsis: After returning home from the Vietnam War, veteran Jacob Singer (Tim Robbins) struggles to maintain his sanity. Plagued by hallucinations... [More] Directed By: Adrian Lyne #14 The Game (1997) 77% #14 Adjusted Score: 81007% Critics Consensus: The ending could use a little work but this is otherwise another sterling example of David Fincher's iron grip on atmosphere and storytelling. Synopsis: Nicholas Van Orton (Michael Douglas) is a successful banker who keeps mostly to himself. When his estranged brother Conrad (Sean... [More] Directed By: David Fincher #13 Dark City (1998) 76% #13 Adjusted Score: 81226% Critics Consensus: Stylishly gloomy, Dark City offers a polarizing whirl of arresting visuals and noirish action. Synopsis: John Murdoch (Rufus Sewell) awakens alone in a strange hotel to find that he is wanted for a series of... [More] Directed By: Alex Proyas #12 The Machinist (2004) 77% #12 Adjusted Score: 81414% Critics Consensus: Brad Anderson's dark psychological thriller about a sleepless factory worker is elevated by Christian Bale astonishingly committed performance. Synopsis: Factory worker Trevor Reznik (Christian Bale) suffers from insomnia so severe that his condition has taken its toll on his... [More] Directed By: Brad Anderson #11 Mulholland Dr. (2001) 84% #11 Adjusted Score: 93846% Critics Consensus: David Lynch's dreamlike and mysterious Mulholland Drive is a twisty neo-noir with an unconventional structure that features a mesmerizing performance from Naomi Watts as a woman on the dark fringes of Hollywood. Synopsis: A dark-haired woman (Laura Elena Harring) is left amnesiac after a car crash. She wanders the streets of Los Angeles... [More] Directed By: David Lynch #10 Black Swan (2010) 85% #10 Adjusted Score: 98503% Critics Consensus: Bracingly intense, passionate, and wildly melodramatic, Black Swan glides on Darren Aronofsky's bold direction -- and a bravura performance from Natalie Portman. Synopsis: Nina (Natalie Portman) is a ballerina whose passion for the dance rules every facet of her life. When the company's... [More] Directed By: Darren Aronofsky #9 Open Your Eyes (1997) 87% #9 Adjusted Score: 89467% Critics Consensus: Director Alejandro Amenábar tackles some heady issues with finesse and clarity in Open Your Eyes, a gripping exploration of existentialism and the human spirit. Synopsis: Handsome 25-year-old Cesar (Eduardo Noriega) had it all -- a successful career, expensive cars, a swank bachelor's pad, and an... [More] Directed By: Alejandro Amenábar #8 Gone Girl (2014) 88% #8 Adjusted Score: 106310% Critics Consensus: Dark, intelligent, and stylish to a fault, Gone Girl plays to director David Fincher's sick strengths while bringing the best out of stars Ben Affleck and Rosamund Pike. Synopsis: In Carthage, Mo., former New York-based writer Nick Dunne and his glamorous wife Amy present a portrait of a blissful... [More] Directed By: David Fincher #7 Inception (2010) 87% #7 Adjusted Score: 102794% Critics Consensus: Smart, innovative, and thrilling, Inception is that rare summer blockbuster that succeeds viscerally as well as intellectually. Synopsis: Dom Cobb (Leonardo DiCaprio) is a thief with the rare ability to enter people's dreams and steal their secrets from... [More] Directed By: Christopher Nolan #6 Seconds (1966) 79% #6 Adjusted Score: 86594% Critics Consensus: Featuring dazzling, disorienting cinematography from the great James Wong Howe and a strong lead performance by Rock Hudson, Seconds is a compellingly paranoid take on the legend of Faust. Synopsis: Banker Arthur Hamilton (John Randolph) gets a call one day from a friend he thought was dead. It turns out... [More] Directed By: John Frankenheimer #5 Memento (2000) 94% #5 Adjusted Score: 101555% Critics Consensus: Christopher Nolan skillfully guides the audience through Memento's fractured narrative, seeping his film in existential dread. Synopsis: Leonard (Guy Pearce) is tracking down the man who raped and murdered his wife. The difficulty, however, of locating his... [More] Directed By: Christopher Nolan #4 Vertigo (1958) 92% #4 Adjusted Score: 106043% Critics Consensus: An unpredictable scary thriller that doubles as a mournful meditation on love, loss, and human comfort. Synopsis: Hitchcock's romantic story of obsession, manipulation and fear. A detective is forced to retire after his fear of heights causes... [More] Directed By: Alfred Hitchcock #3 Diabolique (1955) 95% #3 Adjusted Score: 105790% Critics Consensus: Cruel, dark, but undeniably effective, Diabolique is a suspense thriller as effective as Hitchcock's best work and with a brilliant twist ending. Synopsis: In this classic of French suspense, the cruel and abusive headmaster of a boarding school, Michel Delassalle (Paul Meurisse), becomes... [More] Directed By: Henri-Georges Clouzot #2 #2 Adjusted Score: 110312% Critics Consensus: Arguably the first true horror film, The Cabinet of Dr. Caligari set a brilliantly high bar for the genre -- and remains terrifying nearly a century after it first stalked the screen. Synopsis: At a carnival in Germany, Francis (Friedrich Feher) and his friend Alan (Rudolf Lettinger) encounter the crazed Dr. Caligari (Werner... [More] Directed By: Robert Wiene #1 Rebecca (1940) 98% #1 Adjusted Score: 113233% Critics Consensus: Hitchcock's first American film (and his only Best Picture winner), Rebecca is a masterpiece of haunting atmosphere, Gothic thrills, and gripping suspense. Synopsis: Story of a young woman who marries a fascinating widower only to find out that she must live in the... [More] Directed By: Alfred Hitchcock
6282	dbpedia	2	3	https://www.amazon.com/Secret-Whistler-Richard-Dix/dp/B00ZRBQYY8	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/wxvwzfzh/Captcha_ajfrljwzkd.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=3VM8EG0SX8J63DZFKEX6&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
6282	dbpedia	3	44	https://murder-mayhem.com/best-hitchcock-movies	en	Master of Suspense: The 9 Best Hitchcock Movies	https://orion-uploads.op…rebecca-feat.jpg	https://orion-uploads.op…rebecca-feat.jpg	[ "https://orion-uploads.openroadmedia.com/mm_logo.svg", "https://murder-mayhem.com/_next/image?url=https%3A%2F%2Forion-uploads.openroadmedia.com%2Fmd_27cffe820eab-rebecca-feat.jpg&w=828&q=75 1x, /_next/image?url=https%3A%2F%2Forion-uploads.openroadmedia.com%2Fmd_27cffe820eab-rebecca-feat.jpg&w=1920&q=75 2x", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_cc7ace32bac2-the-birds.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_223d45cefe7f-the-man-who-knew-too-much.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_ba32ccd17192-the-39-steps.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_facb31f526a4-north-by-northwest.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_1032b76ad4ee-lifeboat-still.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_b58bb6cd2ddb-dial-m-for-murder.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_1298e2e32f45-rebecca-still.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_9364a3a2ad87-rear-window.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/md_bc969f7a1ce8-vertigo-film.jpg", "https://orion-uploads.openroadmedia.com/Camera-Icon.svg", "https://orion-uploads.openroadmedia.com/icon_fb.png", "https://orion-uploads.openroadmedia.com/icon_x.png", "https://orion-uploads.openroadmedia.com/logo.png" ]	[]	[]	[ "" ]	null	[ "Jessica Ferri" ]	2018-05-08T13:30:00+00:00	Alfred Hitchcock is beloved thanks to over 50 movies of perfectly crafted suspense. Don't have time for every film? Try one of the nine best Hitchcock movies.	en	https://orion-uploads.openroadmedia.com/7-favicon.ico	murder-mayhem.com	https://murder-mayhem.com/best-hitchcock-movies	Though he’s most well known for Psycho, considered by many to be one of the first horror movies ever made, you don’t just earn the moniker “master of suspense” for just one picture. Alfred Hitchcock started making silent films in Britain in the 1920s. His 1934 picture, The Man Who Knew Too Much, was a smash success in England, bringing him to direct Rebecca, his first American movie, which won the Academy Award for Best Picture, in 1940. No other film director has had more influence on the modern day thriller and the application of suspense in cinema. When asked about his techniques, Hitch famously quipped, “always make the audience suffer as much as possible.” The Birds 1963 Only the master of suspense could make a flock of crows seem like the most terrifying thing on earth. This 1963 movie, based loosely on a Daphne du Maurier short story, is an early example of natural horror–when natural phenomena goes berserk. Later infamous examples include Stephen King’s The Mist and John Carpenter’s The Fog. The bad stuff with the birds begins when stranger Melanie Daniels (Tippi Hedren) appears in Bodega Bay, a small California seaside community. True to Hitchcockian form, the scenes in which no birds are present–the aftermath of two attacks in particular, and the scene in which residents of Bodega Bay accuse Melanie of being somehow responsible for the birds–are the very definition of suspense. RELATED: 11 Pulse-Pounding Thrillers You Can Watch Right Now The Man Who Knew Too Much 1934 At the peak of Hitchcock’s British period, five years before he moved to the States, 1934’sThe Man Who Knew Too Much is a classic example of international spy suspense. Jill and Bob, a couple vacationing in Switzerland, get enmeshed in a crime ring, resulting in the kidnapping of their daughter. The concert scene, in which Jill must thwart an assassination, is heart-stoppingly suspenseful. Hitchcock loved this movie so much he remade it in color in 1956 with a slightly different plot, starring the beloved Jimmy Stewart as Ben and America’s sweetheart, Doris Day, as Jo. The 39 Steps 1935 Just one year after the success of The Man Who Knew Too Much, Hitch was back with The 39 Steps, an influential suspense drama with a classic case of mistaken identity at its heart. Richard Hannay is minding his own business when he becomes embroiled in a web of spies and assassins and ends up on the run in Scotland, handcuffed to a woman he’s just met. Thoroughly Hitchcockian, The 39 Steps is the basis for many modern “on the run” thrillers–movies like The Fugitive, Mission: Impossible, The Bourne Identity, and Hitchcock’s own To Catch a Thief and North by Northwest. RELATED: 8 Thrilling Novels Behind Hitchcock’s Greatest Films North by Northwest 1959 Following in the steps of The 39 Steps, North by Northwest stars the dashing Cary Grant as a man who, in a case of mistaken identity, is on the run. After Roger Thornhill (Grant) summons a waiter, two men believe that he is the “George Kaplan” they’re looking for–and Thornhill, unable to convince them otherwise, must flee. This on-the-run thriller is most famous for two scenes, one in which Grant is nearly mowed down by a crop-dusting plane, and the terrifying finale on the precipice of Mount Rushmore. Lifeboat 1944 The good news: You’ve survived the boat sinking. The bad news: Now you’re stuck on a lifeboat with a bunch of strangers. After their boat is sunk by a German submarine, a motley crew of survivors, including the legendary stage actress Tallulah Bankhead as a columnist who helpfully speaks German, must work together to get to shore. Meant as a commentary on World War II, Lifeboat is a deeply suspenseful and claustrophobic film, taking place entirely on the small boat. That didn’t stop Hitch from making his infamous cameo, though, in a photograph on the back of a newspaper read by one of the survivors. Looking for the most thrilling movies? Sign up for Murder & Mayhem's newsletter, and get our most exhilarating picks delivered straight to your inbox. Dial M for Murder 1954 Based on a hit play, Hitchcock’s beloved Grace Kelly stars as Margot, whose husband discovers her affair and plots to kill her. But his plans go awry when Margot manages to fend off her attacker, killing him. Her husband frames her for the murder, and she is set to be executed. Luckily, her lover suspects her husband all along. As ever, Hitchcock uses the audience’s expectations to manipulate emotions and turn up the tension. In 1998, the movie was reimagined for modern audiences as A Perfect Murder, starring Gwyneth Paltrow, Michael Douglas, and Viggo Mortensen. RELATED: 13 Thriller Remakes That Deliver Classic Chills Rebecca 1940 Based on the classic novel by Daphne du Maurier, Hitchcock’s Rebecca was his first American project with David O. Selznick. Rebecca tells the story of a young woman who falls desperately in love with, then marries a wealthy widower. But when she’s installed at his palatial country estate, Manderley, she finds there are more secrets about his dead wife, Rebecca, than there are rooms in the house. Audiences loved the suspense of Rebecca, with its dramatic and shocking ending, and the movie was nominated for four Academy Awards, winning two for Cinematography and Best Picture. RELATED: 9 Mystery Books with Surprise Plot Twists Rear Window 1954 Perhaps Hitchcock’s finest suspense thriller, Rear Window is a cautionary tale about boredom. When Jeff (Jimmy Stewart) breaks his leg, he takes to spying on his neighbors in the building across the courtyard for amusement. Even frequent visits from his stunning girlfriend, Lisa (Grace Kelly) can’t distract Jeff from his fixation–that his neighbor has murdered his wife and is getting away with it. Jeff’s inability to move while others are at risk make this film skin-crawlingly stressful. RELATED: What Makes a Thriller? Vertigo 1958 Hailed by many as Hitchcock’s masterpiece, Vertigo is a gorgeous and groundbreaking tale of obsession. Jimmy Stewart, one of Hitch’s favorite actors, stars as Scottie, a detective suffering from a bad case of vertigo after watching his partner fall to his death. An old friend asks Scottie to follow his wife Madeleine, who he believes is having an affair. The lengthy sequences of Scottie following Madeleine around San Francisco are completely dialogue-free, the anxiety amped up by a beautifully sinister musical score by Bernard Hermann. Though the movie received mixed reviews upon its release, it is now considered to be one of the best movies of all time. Feature still of "Rebecca" via Selznick International Pictures KEEP SCROLLING FOR MORE MYSTERIOUS STORIES
6282	dbpedia	2	2	https://www.rottentomatoes.com/m/secret_of_the_whistler	en	Secret of the Whistler	https://resizing.flixste…924_p_v10_aa.jpg	https://resizing.flixste…924_p_v10_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/gimCELOAaCrTgqE7vKXiFFts4_8=/fit-in/128x128/v2/http://resizing.flixster.com/-T34PYSQBz9WJaYy3dcpPvwpo9U=/128x128/v1.YzszNzc0O2o7MTk5ODA7MjA0ODsxNjE5OzE2MTk", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	An artist's (Richard Dix) second wife knows he killed his first wife.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/secret_of_the_whistler	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
6282	dbpedia	0	11	https://inspirethoughts.livejournal.com/627415.html	en	Movie Critique – #342: The Secret of the Whistler	https://l-files.livejournal.net/og_image/13441765/2450?v=1508880704	https://l-files.livejournal.net/og_image/13441765/2450?v=1508880704	[ "https://top-fwz1.mail.ru/counter?id=3402139;js=na", "https://sb.scorecardresearch.com/p?c1=2&c2=10463284&cv=2.0&cj=1", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-stat.livejournal.net/img/schemius/print-logo.png?v=49361", "https://l-userpic.livejournal.com/101637514/13441765", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://ic.pics.livejournal.com/inspirethoughts/13441765/835433/835433_600.jpg", "https://ic.pics.livejournal.com/inspirethoughts/13441765/835603/835603_600.jpg", "https://ic.pics.livejournal.com/inspirethoughts/13441765/835840/835840_600.jpg", "https://l-stat.livejournal.net/img/threadExpander.gif", "https://l-userpic.livejournal.com/101637514/13441765", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-userpic.livejournal.com/123193109/811962", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-userpic.livejournal.com/127917640/14849814", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-userpic.livejournal.com/130187469/3449", "https://l-files.livejournal.net/userhead/1264?v=1369827150", "https://l-userpic.livejournal.com/101637514/13441765", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://l-userpic.livejournal.com/11928592/1142532", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=779", "https://www.tns-counter.ru/V13a**sup_ru/ru/UTF-8/tmsec=lj_noncyr/", "https://www.tns-counter.ru/V13arambler_ad/ru/UTF-8/tmsec=rambler_cid1100104-posid2155079/", "https://www.tns-counter.ru/V13a**rambler_ad/ru/UTF-8/tmsec=rambler_cid1100108-posid2155106/", "https://xc3.services.livejournal.com/ljcounter/?d=srv:kr-ws08,r:0,j:13441765,p:13441765,uri:%22%2F627415.html%22,vig:0,m:0,v:1,extra:AM0a5QDNGuUACZLX", "https://mc.yandex.ru/watch/27737346" ]	[]	[]	[ "ЖЖ", "LiveJournal", "живой журнал", "movies", "whistler", "critique by amateur", "reviews", "Aparna", "Inspire Thoughts" ]	null	[]	null	For review of all the movies in the series: Go here Stars: 3.5 / 5 Recommendation: A dark tale of base human emotions - love, greed and jealousy - a tangle of web one enjoys watching on screen. The Secret of the Whistler is a 1946 American mystery film noir based on the radio drama of the…		https://l-stat.livejourn…nfo_v8.png?v=779		https://inspirethoughts.livejournal.com/627415.html
6282	dbpedia	1	9	https://en.wikipedia.org/wiki/The_Whistler_(radio_series)	en	The Whistler (radio series)	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-07-08T12:55:08+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Whistler_(radio_series)	American radio series This article is about the radio show. For the television show, see The Whistler (TV series). For other uses, see Whistler. The Whistler is an American radio mystery drama which ran from May 16, 1942, until September 22, 1955, on the west-coast regional CBS radio network. The show was also broadcast in Chicago and over Armed Forces Radio. On the west coast, it was sponsored by the Signal Oil Company: "That whistle is your signal for the Signal Oil program, The Whistler." There were also two short-lived attempts to form east-coast broadcast spurs: July 3 to September 25, 1946, sponsored by the Campbell Soup Company; and March 26, 1947, to September 29, 1948, sponsored by Household Finance. The program was also adapted into a film noir series by Columbia Pictures in 1944. Characters and story [edit] I...am the Whistler, and I know many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. Yes... I know the nameless terrors of which they dare not speak! One opening to The Whistler Each episode of The Whistler began with the sound of footsteps and a person whistling.[1] (The Saint radio series with Vincent Price used a similar opening.) The haunting signature theme tune was composed by Wilbur Hatch and featured Dorothy Roberts whistling with an orchestra.[2] A character known only as the Whistler was the host and narrator of the tales, which focused on crime and fate. He often commented directly upon the action in the manner of a Greek chorus, taunting the characters, guilty or innocent, from an omniscient perspective. The stories followed a formula in which a person's criminal acts were typically revealed either by an overlooked but important detail or by the criminal's own stupidity. An ironic ending, often grim, was a key feature of each episode. But on rare occasions, such as "Christmas Bonus" broadcast on Christmas Day 1944, the plot's twist of fate caused the story to end happily for the protagonist. Bill Forman, a veteran radio announcer, had the title role of the Whistler for the longest period of time. Others who portrayed the Whistler at various times were Gale Gordon, Joseph Kearns, Marvin Miller (announcer for the show, who occasionally filled in for Forman and played supporting roles), and Bill Johnstone (who had the title role on radio's The Shadow from 1938 to 1943). Cast members included Betty Lou Gerson, Hans Conried,[1] Joseph Kearns,[1] Cathy Lewis,[3] Elliott Lewis,[1] Gerald Mohr,[1] Lurene Tuttle[1] and Jack Webb.[4] Writer-producer J. Donald Wilson established the tone of the show during its first two years, and he was followed in 1944 by producer-director George Allen. Other directors included Sterling Tracy and Sherman Marks with final scripts by Joel Malone and Harold Swanton. Of the 692 episodes, over 200 no longer exist. In 1946, a local Chicago version of The Whistler with local actors (including Everett Clarke as the Whistler) aired Sundays on WBBM, sponsored by Meister Brau beer. Films and television [edit] Films [edit] The Whistler was adapted into a film noir series of eight films by Columbia Pictures.[5] The "Voice of the Whistler" was provided by an uncredited Otto Forrest. In the first seven films, veteran actor Richard Dix played the main character in the story – a different character in each film, ranging from mild-mannered sympathetic heroes to flawed and forceful villians. In the eighth film, made after Dix's retirement, Michael Duane played the main character. The Whistler – 1944, directed by William Castle The Mark of the Whistler – 1944, directed by William Castle The Power of the Whistler – 1945, directed by Lew Landers Voice of the Whistler – 1945, directed by William Castle Mysterious Intruder – 1946, directed by William Castle The Secret of the Whistler – 1946, directed by George Sherman The Thirteenth Hour – 1947, directed by William Clemens The Return of the Whistler – 1948, directed by D. Ross Lederman Television [edit] A syndicated TV version of The Whistler was produced and aired for a brief period in 1954. Bill Forman, the most frequently employed radio voice of the show's title character, reprised that role on TV.[6] Cultural references [edit] On April 21, 1964, the show was parodied on an episode of The Jack Benny Program entitled "I Am the Fiddler,"[7][8] an expanded reboot of an earlier, like-named, audio-only Benny parody, which aired during the October 20, 1946 episode of his radio show.[9] In the 1990 film The Two Jakes, set in Los Angeles in the late 1940s, the opening narrative of The Whistler can be heard on the car radio as private detective J.J. Gittes (played by Jack Nicholson) cruises the streets. See also [edit] Audio theatre The Mysterious Traveler Old-time radio References [edit] Bibliography [edit] Dunning, John. On the Air: The Encyclopedia of Old Time Radio. Oxford University Press, 1998. ISBN 0-19-507678-8. Nachman, Gerald. Raised on Radio. University of California Press, 2000. ISBN 0-520-22303-9. Pitts, Michael R. Famous Movie Detectives II. Rowman & Littlefield, 1991. ISBN 0-8108-2345-4. Renzi, Thomas C. Cornell Woolrich: From Pulp Noir to Film Noir. McFarland Publishing, 2006. ISBN 0-7864-2351-X. Van Neste, Dan. " The Whistler: Stepping Into the Shadows – A Columbia Film Series". BearManor Media, 2011. ISBN 1-59393-402-5. Wilt, David E. Hardboiled in Hollywood. Popular Press, 1991. ISBN 0-87972-525-7.
6282	dbpedia	0	50	https://ultimatepopculture.fandom.com/wiki/Mystery_film	en	Mystery film	https://static.wikia.nocookie.net/ultimatepopculture/images/b/b0/Jeremy_Brett.jpg/revision/latest?cb=20160829222307	https://static.wikia.nocookie.net/ultimatepopculture/images/b/b0/Jeremy_Brett.jpg/revision/latest?cb=20160829222307	[ "https://static.wikia.nocookie.net/ultimatepopculture/images/b/b0/Jeremy_Brett.jpg/revision/latest/scale-to-width-down/180?cb=20160829222307", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Ultimate Pop Culture Wiki" ]	2024-07-29T22:27:06+00:00	Mystery film is a sub-genre of the more general category of crime film and at times the thriller genre. It focuses on the efforts of the detective, private investigator or amateur sleuth to solve the mysterious circumstances of a crime by means of clues, investigation, and clever deduction. The...	en	/skins-ucp/mw139/common/favicon.ico	Ultimate Pop Culture Wiki	https://ultimatepopculture.fandom.com/wiki/Mystery_film	Mystery film is a sub-genre of the more general category of crime film and at times the thriller genre. It focuses on the efforts of the detective, private investigator or amateur sleuth to solve the mysterious circumstances of a crime by means of clues, investigation, and clever deduction. The plot often centers on the deductive ability, prowess, confidence, or diligence of the detective as they attempt to unravel the crime or situation by piecing together clues and circumstances, seeking evidence, interrogating witnesses, and tracking down a criminal. This genre has ranged from early mystery tales, fictional or literary detective stories, to classic Hitchcockian suspense-thrillers to classic private detective films. A related film sub-genre is spy films.[1] Mystery films mainly focus with solving a crime or a puzzle. The mystery generally revolves around a murder which must then be solved by policemen, private detectives, or amateur sleuths. The viewer is presented with a series of likely suspects, some of who are "red herrings," - persons with motive to commit the crime who didn't actually do it - and attempts to solve the puzzle along with the investigator. At times the viewer is presented with information not available to the main character. Intensity, anxiety, and suspense build to an exciting climax, often with the detective (or protagonist) using his fists or gun to solve the crime. The central character usually explores the unsolved crime, unmasks the perpetrator, and puts an end to the effects of the villainy. [2] The successful mystery film adheres to one of two story types, known as Open and Closed. The Closed (or whodunit) mystery conceals the identity of the perpetrator until late in the story, adding an element of suspense during the apprehension of the suspect, as the audience is never quite sure who it is. The Open mystery, in contrast, reveals the identity of the perpetrator at the top of the story, showcasing the "perfect crime" which the audience then watches the protagonist unravel, usually at the very end of the story, akin to the unveiling scenes in the Closed style. Suspense is often maintained as an important plot element. This can be done through the use of the soundtrack, camera angles, heavy shadows, and surprising plot twists. Alfred Hitchcock used all of these techniques, but would sometimes allow the audience in on a pending threat then draw out the moment for dramatic effect. Mystery novels have proven to be a good medium for translation into film. The sleuth often forms a strong leading character, and the plots can include elements of drama, suspense, character development, uncertainty and surprise twists. The locales of the mystery tale are often of a mundane variety, requiring little in the way of expensive special effects. Successful mystery writers can produce a series of books based on the same sleuth character, providing rich material for sequels. Until at least the 1980s, women in mystery films have often served a dual role, providing a relationship with the detective and frequently playing the part of woman-in-peril. The women in these films are often resourceful individuals, being self-reliant, determined and as often duplicitous. They can provide the triggers for the events that follow, or serve as an element of suspense as helpless victims. History[] Literary influences[] The earliest mystery films reach back to the silent era. The first detective film is often cited as Sherlock Holmes Baffled, a very short Mutoscope reel created between 1900 and 1903 by Arthur Marvin. It is the earliest-known film to feature the character of detective Sherlock Holmes, albeit in a barely recognisable form.[3][4][5] The earliest true mystery films include The Gold Bug (1910) from France and The Murders in the Rue Morgue (1914). Both are derived from Edgar Allan Poe stories, which is appropriate as Poe created detective fiction as well as the first private detective character, C. Auguste Dupin. In 1932, Universal Pictures renamed him Pierre Dupin in Murders in the Rue Morgue, an atmospheric horror-mystery starring Bela Lugosi. The film was remade twice more in 1953 and 1971. Poe's second Dupin story, The Mystery of Marie Rogêt, was filmed in 1942. Mysteries had their start in the early days of silent film. The most primitive serials, such as the well-known The Perils of Pauline (1914), possessed a degree of mystery. This film type blossomed as a full film category in the talking films of the 1930s, often borrowing from characters in popular literature. Detective films were widely popular during the 1930s and 1940s in B-series films. Charles Dickens' unfinished 1870 novel The Mystery of Edwin Drood was completed by another author and eventually adapted to the screen. Two films, now believed lost, were made in 1909 and 1914. Universal produced The Mystery of Edwin Drood in 1935. The story was remade again in 1993. Universal, known mostly for its long list of classic horror films, also created perhaps the first supernatural horror-whodunit hybrid with Night Monster in 1942. American author Mary Roberts Rinehart (1876–1958), is credited with inventing the "Had-I-But-Known" school of mystery writing (as well as the phrase, "The butler did it"). Her 1920 "old dark house" novel (and play) The Bat was filmed in 1926 as The Bat, again in 1930 as The Bat Whispers, and a third time in the 1959 remake, The Bat, starring Vincent Price. Undoubtedly the most famous of the amateur detectives to reach the silver screen was the archetypal Sherlock Holmes. He first appeared in 1903, and has been portrayed in scores of films by a multitude of actors. Perhaps the earliest detective comedy is Buster Keaton's Sherlock, Jr. from 1924. Until recently, the only American-made series starred Basil Rathbone and Nigel Bruce as Holmes and Dr. Watson. Together they made 14 highly popular films between 1939 and 1946. The first two, at 20th Century Fox, were period piece mysteries set in the late-Victorian era of the original stories. By the third film, Sherlock Holmes and the Voice of Terror (1942), now at Universal Studios, Holmes was updated to the present day. Several films dealt with World War II and thwarting Nazi spies. Warner Bros. Pictures has introduced a new film series with Sherlock Holmes (2009 film) and Sherlock Holmes: A Game of Shadows (2011) which mark a sharp departure from the original stories as well as the previous film adaptations. Here the cerebral detective, played by Robert Downey Jr., has been transformed into an athletic action hero in a steampunk fantasy version of Victorian England. Other famous literary sleuths who were brought to the screen include Charlie Chan, Ellery Queen, Nancy Drew, Nero Wolfe, and Agatha Christie's Miss Marple and Hercule Poirot. To date, 32 films and dozens of television adaptations have been made based on Christie's novels alone. British private detective and adventurer Bulldog Drummond was featured in no less than 24 films from 1922 to 1969 and was the prototype for Ian Fleming's James Bond character. Classic period: the 1930s[] A few silent Charlie Chan films, now lost, were produced in the 1920s. Starting in 1929, the B-picture unit at Fox Film Corporation (soon to become 20th Century Fox) began a series of 28 highly popular Charlie Chan films. (Monogram Pictures continued the series from 1944 to 1949 with 17 more entries.) The success of the Chan films led Fox to hire German actor Peter Lorre to play Japanese sleuth Mr. Moto in 8 films from 1937 to 1939. Monogram responded by creating their own gentlemanly Oriental detective, Mr. Wong, adapted from a Hugh Wiley story. Starting with Mr. Wong, Detective, Boris Karloff played Wong in 5 of 6 films produced from 1938 to 1941. Over at Warner Brothers studios, the Perry Mason novels by Erle Stanley Gardner were faithfully adapted into a series of six films from 1934 to 1937. Most of these placed the crusading attorney in a standard murder mystery whodunit story. Warner Bros. also created the Torchy Blane films which were notable for featuring one of the few female sleuths in a series. Starting with Smart Blonde, Glenda Farrell played the brassy, mystery-solving news reporter in 8 of 9 films made between 1936 and 1939. In 1932 RKO Pictures (known then as RKO Radio Pictures Inc.) purchased the rights to a Hildegarde Withers story by Stuart Palmer and launched a six-film series starting with The Penguin Pool Murder. Edna May Oliver played Withers, a schoolteacher with a yen for sleuthing who becomes involved with a police inspector. The last film was released in 1937. William Powell starred in a series of detective films as the suave Philo Vance — the most successful example being The Kennel Murder Case (1933). Powell also played the equally debonair "Nick Charles" opposite Myrna Loy as his carefree wife "Nora" in the hugely popular Thin Man series from 1934 to 1947. Based on The Thin Man novel by Dashiell Hammett, these were witty, sophisticated romps that combined elements of the screwball comedy film within a complex murder mystery plot. Many of these films concluded with an explanatory detective dénouement that quickly became a cinematic (and literary) cliche. With the suspects gathered together, the detective would dramatically announce that "The killer is in this very room!" before going over the various clues that revealed the identity of the murderer. The 1930s was the era of the elegant gentleman-detective who solved drawing-room whodunit murders using his wits rather than his fists. Most were well-to-do amateur sleuths who solved crimes for their own amusement, carried no weapons, and often had quirky or eccentric personality traits. This type of crime-fighter fell out of fashion in the 1940s as a new breed of tough, "hard boiled" professional private detectives based on the novels of Dashiell Hammett, Raymond Chandler, and an ensuing slew of imitators were adapted to film. The 1940s-1950s[] During World War II, film noir came into style and proved a popular medium for darker, more violent stories featuring cynical, trenchcoat-wearing private detectives who were almost as ruthless as the criminals they pursued. The wealthy, aristocratic sleuth of the previous decade was gradually replaced by the rough-edged, working-class gumshoe. Humphrey Bogart became the definitive cinema shamus as Sam Spade in Hammett's The Maltese Falcon (1941) and as Philip Marlowe in Chandler's The Big Sleep (1946). Dick Powell also made an indelible impression as Marlowe in the classic Murder, My Sweet (1944), adapted from Chandler's Farewell, My Lovely. The Falcon Takes Over (1942), starring George Sanders, was also based on the same novel. Chandler's The Lady in the Lake was filmed in 1947 with Robert Montgomery starring and directing. This film is most noteworthy for the revolutionary way it is filmed entirely from Marlowe's viewpoint. The audience sees only what he does. Montgomery only appears on camera a few times, once in a mirror reflection. Also in 1947, Chandler's novel The High Window was made into the film The Brasher Doubloon starring George Montgomery. This was essentially a remake of Time to Kill (1942), a Michael Shayne adventure starring Lloyd Nolan. Raymond Chandler also wrote an original screenplay for The Blue Dahlia (1946) starring Alan Ladd. The Glass Key (1942), also starring Ladd, was the second film adaptation of Hammett's novel. Another standout film of the period is Out of the Past (1947) starring Robert Mitchum, who would go on to play Philip Marlowe three decades later. Otto Preminger's Laura (1944) is also a classic murder mystery featuring Dana Andrews as a lone-wolf police detective. The popular radio show The Whistler was turned into a series of 8 mystery films from 1944 to 1948. Richard Dix would introduce the stories and alternate between playing a hero, a villain, or a victim of circumstance. In Mysterious Intruder (1946), he was a private eye. It was one of the few series to gain acceptance with the public and critics alike. Chester Morris played Boston Blackie, a former jewel thief turned detective, in fourteen films from 1941 to 1949. Produced by Columbia Pictures, many were mysteries laced with comic relief such as Meet Boston Blackie (1941), Boston Blackie Booked on Suspicion (1945), The Phantom Thief (1945), and Boston Blackie's Chinese Venture (1949). Columbia also turned the Crime Doctor radio show into a series of mystery films starring Warner Baxter. Most of them followed the standard whodunit formula. Ten features were produced beginning with Crime Doctor in 1943 and ending with Crime Doctor's Diary (1949). Another popular series featured George Sanders as the suave Falcon. Sixteen films were made from 1941 to 1949. Sanders decided to leave the series during the fourth entry, The Falcon's Brother. His character was killed off and replaced by his real-life brother, Tom Conway. Comedian Red Skelton played inept radio detective "The Fox" in a trio of comedies, Whistling in the Dark (1941), Whistling in Dixie (1942), and Whistling in Brooklyn (1943). Brett Halliday's "Michael Shayne" detective novels were made into a series of 12 B-movies between 1940 and 1947 (starring Lloyd Nolan and later Hugh Beaumont). Mickey Spillane's equally rugged Mike Hammer character was adapted to film with I, the Jury (1953), My Gun is Quick (1957), and the influential Kiss Me Deadly (1955). Spillane even played Hammer once in the 1963 film The Girl Hunters. With Spellbound (1945), director Alfred Hitchcock created perhaps the first psychological mystery thriller. This film, along with Fear in the Night (1947), explores the effects of amnesia, hypnosis, and psychoanalysis. Both films also feature surreal dream sequences which are essential to the plot. Provisional detectives[] A frequently used variation on the theme involved an average person who is suddenly forced to turn ad hoc detective in order to solve the murder of a friend or clear their own name. Prime examples include Ella Raines in Phantom Lady (1944), Lucille Ball in both The Dark Corner (1946) and Lured (1947), Alan Ladd in the aforementioned The Blue Dahlia, George Raft in Johnny Angel (1945), and Humphrey Bogart in Dead Reckoning (1947). Perhaps the last word in this sub-genre is D.O.A. (1950), where a man dying from a slow-acting poison has to solve his own murder in the hours he has left. This film was remade in 1969 as Color Me Dead. Also among this group, the issue of racism as motive for murder is central to Crossfire (1947), Bad Day at Black Rock (1954), and A Soldier's Story (1984). Ten Little Indians[] Agatha Christie's highly influential 1939 novel Ten Little Indians (originally Ten Little Niggers, later changed to And Then There Were None) presented the concept of a mysterious killer preying on a group of strangers trapped at an isolated location (in this case, Indian Island). This was made into a classic film And Then There Were None in 1945. Three more films, all titled Ten Little Indians, were released in 1965, 1974, and 1989 along with the 1987 Russian film Desyat Negrityat. This premise has been used countless times, especially in "old dark house" genre horror films. A few examples include Five Dolls for an August Moon (1970) directed by Mario Bava, Identity (2003), Mindhunters (2004), made-for-television films (Dead Man's Island, 1996), a miniseries (Harper's Island, 2009), and episodic television such as The Avengers ("The Superlative Seven"), The Wild Wild West ("The Night of The Tottering Tontine") both from 1967, and Remington Steele ("Steele Trap") in 1982. Revival and revisionist era: 1960s-1970s[] The Sixties and Seventies saw a neo-noir resurgence of the hardboiled detective film (and gritty police drama), based on the classic films of the past. These fall into three basic categories: modern updates of old films and novels, atmospheric period piece films set in the '30s and '40s, and new, contemporary detective stories that pay homage to the past. Classics made contemporary[] Philip Marlowe returns as a modern-day sleuth in 1969's Marlowe played by James Garner (based on Chandler's The Little Sister), and in Robert Altman's revisionist The Long Goodbye (1973) played by Elliott Gould. Robert Mitchum is Marlowe in the 1978 remake of The Big Sleep set in contemporary London. Paul Newman portrays a modernized Lew Archer (changed to Harper) in Harper (1966) and The Drowning Pool (1976), based on Ross Macdonald's 1949-1950 novels. Gunn, set in the mod millieu of 1967, is an update of the Peter Gunn TV series (1958–1961) starring Craig Stevens. Bulldog Drummond returned as a contemporary sleuth in Deadlier Than the Male (1967) and Some Girls Do (1969). And the 1982 remake of I, the Jury brought back Mike Hammer (revived again in the 1984-1987 television series, Mickey Spillane's Mike Hammer). And Kiss Kiss Bang Bang (2005) was a modernized adaptation of Brett Halliday's 1941 Michael Shayne novel Bodies Are Where You Find Them. The old-fashioned whodunit was given a fresh update in Sleuth (1972), The Last of Sheila (1973), and the comedy Who Is Killing the Great Chefs of Europe? (1978). And Brian De Palma's Obsession is a 1976 remake of Hitchcock's 1958 classic Vertigo. Period piece films[] The many period piece films set in the Thirties and Forties are led by Roman Polanski's classic Chinatown (1974) starring Jack Nicholson and its belated sequel, The Two Jakes (1990), which Nicholson also directed. Robert Mitchum played Marlowe once again in Farewell, My Lovely (1975), perhaps the most faithful adaptation of this often-filmed book. The obscure Chandler (1972) is set in the 1940s but has nothing to do with Raymond Chandler's writings. The television film Goodnight, My Love (1972) with Richard Boone and two short-lived TV series, Banyon (1972–73) and City of Angels (1976) were also set in the 1930s and pay tribute to the Sam Spade/Philip Marlowe model. And the 1975 telefilm Who Is the Black Dahlia? recreates the true unsolved murder case from 1947. Agatha Christie's elegant Murder on the Orient Express (1974) and Death on the Nile (1978) were colorful, lavish productions rich in '30s period detail. Also a series of lighthearted Miss Marple mysteries were loosely adapted from Christie's novels. Margaret Rutherford starred in Murder, She Said (1961), Murder Most Foul (1964), Murder Ahoy! (1965), and did a cameo appearance as Marple in The Alphabet Murders (1965). And the evergreen Sherlock Holmes was given the first of many revisionist treatments in Billy Wilder's The Private Life of Sherlock Holmes (1970) and The Seven Percent Solution (1976). The new wave[] The New Wave of modern detective films may well begin with Jean-Luc Godard's offbeat Alphaville (1965) with its traditional, raincoat-and-fedora private eye placed in a futuristic, science fiction-based story. The film is part homage and part parody of the detective genre. Frank Sinatra is a cynical, Bogart-like gumshoe in Tony Rome (1967) and its sequel Lady in Cement (1968) — and a tough police investigator in The Detective (1968). John D. MacDonald wrote 21 Travis McGee novels, but only one, Darker Than Amber (1970) was filmed. George Peppard is a traditional private detective in P.J. (1968). Robert Culp and Bill Cosby are hard-luck private eyes in the downbeat and violent Hickey & Boggs (1972). Burt Reynolds plays a tongue-in-cheek Shamus (1973), and Burt Lancaster is a retired cop turned sleuth in The Midnight Man (1974). Two of the finest examples star Gene Hackman in The Conversation (1974) and Night Moves (1975). The blaxploitation B-movie industry adopted the standard private detective format for several action-mysteries such as Trouble Man (1972), Black Eye (1974), Sheba, Baby (1975) starring Pam Grier, and Velvet Smooth (1976). Noteworthy police detective dramas of the period include: In the Heat of the Night (winner of five Academy Awards, including Best Picture in 1967), Bullitt, Madigan (both 1968), Klute (1971), Electra Glide in Blue (1973), and two non-mysteries: Dirty Harry, and The French Connection (both from 1971). Italian Giallo thrillers[] In Italy, a new type of controversial horror-based thriller called the Giallo film (which began in the Sixties) became a popular and influential genre by the early Seventies. Most of these films center around grisly murder sequences with shocking grand guignol style gore, sometimes mixed with sadistic eroticism (the victims often being beautiful women). The villains are usually mysterious serial killers (often wearing masks or disguises) who are eventually hunted down by the police and/or an average person turned sleuth. The first important film in this genre is Blood and Black Lace (1964) directed by Mario Bava. Giallo films that follow a murder mystery format include Five Dolls for an August Moon (1970) by Mario Bava, three by director Dario Argento: The Cat o' Nine Tails, Four Flies on Grey Velvet (both 1971), and Deep Red (1975) – as well as A Lizard in a Woman's Skin (1971), Black Belly of the Tarantula (1971), Who Saw Her Die? (1972), and What Have You Done to Solange? (1972). The Giallo style has had an enduring influence on horror films in general as well as the subgenre slasher and splatter films that would soon follow. Early examples include the 1967 British film Berserk! and the American mystery-thrillers No Way to Treat a Lady (1968), Klute (1971), Pretty Maids All in a Row (1971), based on an Italian novel, Eyes of Laura Mars (1978), and Hitchcock's Frenzy (1972). From Blowup to Blow Out[] One mystery film stands out in a category by itself. Michelangelo Antonioni's provocative Blowup (1966) is a unique anti-whodunit symbolizing the aimless hedonism of the Sixties. A swinging London photographer uncovers clues to a murder, but solving the crime is rendered irrelevant in a society where no one really cares. This contrasts sharply with the ending of The Maltese Falcon where Sam Spade solves the murder of his partner, Miles Archer. He sacrifices the woman he's fallen for, not because he was fond of Archer (he wasn't), but because it's the right thing to do. In 1981, Brian De Palma remade this as Blow Out, turning it into a more traditional political thriller. In the DVD audio commentary for The Conversation, director Francis Ford Coppola revealed that Blowup was a major source of inspiration for that film. The 1980s to the present[] Since the mid-Seventies, only a handful of films with private detectives have been produced. These include I, the Jury, Angel Heart, Hollywood Harry, The Two Jakes, Devil in a Blue Dress, Pure Luck, Under Suspicion, Twilight with Paul Newman, and Ben Affleck's Gone Baby Gone. Films with female detectives have not fared well. Kathleen Turner as private eye V.I. Warshawski (1991), was to be the start of a new franchise based on the book series, but the film was a box-office failure. Plans to turn Honey West into a film have been in and out of development for over a decade with no film in sight. Since 1980, ten films based on the ever-popular novels of Agatha Christie have been released. Two with eccentric sleuth Hercule Poirot, Evil Under the Sun (1982), Appointment with Death (1988), and one with Miss Marple The Mirror Crack'd (1980). Christie herself became the subject of a mystery film in 1979's Agatha starring Vanessa Redgrave. The film was a fictional speculation on her famous 11-day disappearance in 1926. Blue Velvet (1986), by David Lynch, combined strong sexuality, violence and suspense into its plot, which revolved around a murder mystery in a small American town. Neo-noir erotic thrillers[] In the Eighties, filmmakers began to take a revisionist approach toward 1940s film noir (aka neo-noir). The implied sexuality of the vintage films was enhanced and made explicit in a new wave of erotic thrillers. The most influential of these are Body Heat (1981), and two from Brian De Palma: Dressed to Kill (1980) and Body Double (1984). Many of these films, such as the 1981 remake of The Postman Always Rings Twice, Angel Heart (1987), Basic Instinct (1992), and Sliver (1993) gained more notoriety for their explicit sex and nude scenes than for anything else. The frontal male nudity in Color of Night (1994) was controversial, as was Body of Evidence (1993) with Madonna and Meg Ryan's image-changing nude scene from In the Cut (2003). None of these films were well-received by the critics. One of the few noteworthy films to successfully balance sexuality and suspense is the Al Pacino thriller Sea of Love (1989). Military mysteries and police procedurals[] Complex murder mysteries related to military men began with Crossfire (1947). More recent examples include A Soldier's Story (1984), No Way Out (1987), The Presidio (1988), A Few Good Men (1992), Courage Under Fire (1996), The General's Daughter (1999), and Basic (2003). The police procedural film, often with a surprise twist ending, has also remained a vital format with Cruising (1980), Gorky Park (1983), Tightrope (1984), The Dead Pool (1988), Rising Sun (1993), Striking Distance (1993), The Usual Suspects (1995), Lone Star (1996), Murder at 1600 (1997), Under Suspicion (2000), Blood Work (2002), Mindhunters[6] (2004), and Righteous Kill (2008). Psychological thriller[] In the 1990s, a new trend, sometimes called Psycho-noir (psychological thriller and film-noir combined), emerged. This blends mystery, horror and suspense into stories centered around clever, sociopathic serial killers. The Hannibal Lecter novels by Thomas Harris have inspired four films, Manhunter (1986), the Academy Award-winning The Silence of the Lambs (1991), Hannibal (2001), and Red Dragon (2002). Other films in this category include Seven (1995), Kiss the Girls (1997), The Bone Collector (1999), Mercy (2000), Along Came a Spider (2001), Insomnia (2002), and Taking Lives (2004). The 2007 film Zodiac is an account of the real hunt for a serial killer in the San Francisco area in the late-Sixties and early Seventies. Other real-life serial killings have been portrayed in The Alphabet Killer, Ed Gein, Gacy, Ted Bundy and Dahmer. In many modern day mystery-thrillers, everyday characters (such as teens, mothers, fathers, businesspeople, etc.) are dragged into a dangerous conflict or a mysterious situation, either by fate or their own curiosity. Common elements in these stories include searching for a missing person (a friend or family member) as in Flightplan (2005), while being surrounded by red herrings, espionage, criminal or political conspiracies, and friends/relatives with a secret past or a double life. Also contemporary stories such as The Long Kiss Goodnight (1996), Memento (2000)[7], and Shutter Island (2010), where discovering the lead character's true identity and/or past history forms the core of the mystery. Other films in this category include the Scream franchise (1996–2011), Saw franchise (2004–2010), The Orphanage (2006), What Lies Beneath (2000), Cry_Wolf (2005), Devil (2010), Secret Window (2004), The Ring (2002), The Machinist (2004), The Forgotten (2005), The Number 23 (2006),[8] Identity (2003), and The Disappearance of Haruhi Suzumiya (2010). Revisionist period piece films[] Period-piece L.A. police detective stories (set in the 1940s and '50s) returned — with a harder edge and a contemporary sensibility — in Mulholland Falls (1996), and L.A. Confidential (1997) which was nominated for nine Academy Awards and won two. Both True Confessions (1981) and De Palma's The Black Dahlia (2006) are based on an actual unsolved Hollywood murder case from 1947. Hollywoodland (2006) explores the mysterious 1959 death of actor George Reeves, who is portrayed by Ben Affleck. Raymond Chandler's final unfinished novel, Poodle Springs, from 1958, was completed by another author and made into an HBO cable film in 1998. Set in 1963, it stars James Caan as Philip Marlowe. Coming full circle, Robert Altman's nostalgic Gosford Park (2001), set in an English mansion in 1932, is an original story that revives the old-fashioned murder mystery format. Notable mystery films[] In 2008, the American Film Institute ranked the top 10 mystery films of all time: # Film Year 1 Vertigo 1958 2 Chinatown 1974 3 Rear Window 1954 4 Laura 1944 5 The Third Man 1949 6 The Maltese Falcon 1941 7 North by Northwest 1959 8 Blue Velvet 1986 9 Dial M for Murder 1954 10 The Usual Suspects 1995 Genre blends: horror, fantasy, science fiction, historical[] By the Seventies and Eighties, detective and mystery stories began to appear in other genres, sometimes as the framing device for a horror, fantasy or science fiction film or placed in an earlier, nontraditional time period. Escape to Witch Mountain (1975), Return from Witch Mountain (1978) and Race to Witch Mountain (2009), created by Alexander Key and produced by The Walt Disney Company are about two children from another world searching for their origins. Eyes of Laura Mars (1978) is a Giallo-inspired murder mystery thriller that involves the paranormal. Looker (1981) is a science fiction murder mystery film involving futuristic computer technology. Angel Heart (1987), set in 1948, begins as a retro detective yarn but soon becomes a supernatural horror shocker. Twin Peaks: Fire Walk With Me (1992), and the cult TV series of which this is a prequel, also blends murder-mystery forensic work with supernatural horror. Faceless (1988) is a gory Jess Franco private-eye horror-mystery. Lord of Illusions (1995), Clive Barker story of supernatural horror with New York P.I. Harry D'Amour, who has an affinity for the occult. Cast a Deadly Spell (1991) is a cable film with gumshoe Harry P. Lovecraft (a reference to horror/fantasy author H. P. Lovecraft) set in a fantasy version of 1948 Los Angeles where sorcery and voodoo abound. This was followed by Witch Hunt in 1994, a mock fantasy/mystery set in 1953. Private eye Lovecraft (Dennis Hopper) uncovers witchcraft and murder in Hollywood. Hec Ramsey, a 1972-74 television series starred Richard Boone as a Sherlock Holmes-type detective in the Old West at the turn-of-the-century. The Name of the Rose (1986), from the Umberto Eco novel, features a 13th century Sherlock Holmsian monk. The medieval era Brother Cadfael series of television mysteries also took the form of historical fiction. Sleepy Hollow (1999), set in 1799, this features a constable who uses Holmsian scientific methods and forensic science to solve a series of murders in this horror-fantasy film from Tim Burton. The science fiction films Soylent Green (1973), Outland (1981), Minority Report (2002), and I, Robot (2004) all involve futuristic police detectives solving a murder that leads to a larger conspiracy. The Harry Potter films (2001–2011) are fantasy stories that contain many mysteries concerning the main characters, especially in the first three entries: The Philosopher's Stone (2001), The Chamber of Secrets (2002) and The Prisoner of Azkaban (2004). Blade Runner (1982) is a neo-noir science fiction classic set in the future. This comes closest to capturing the spirit of Raymond Chandler's Marlowe with Harrison Ford's sardonic, voice-over narration. Someone Behind You (2007), is a South Korean supernatural thriller/murder mystery based on a comic book. Parodies and homages[] Who Done It? (1942), an Abbott and Costello comedy, is one of the first film spoofs of the genre. Lady on a Train (1945) is a murder mystery comedy starring Deanna Durbin that also satirizes film noir. In My Favorite Brunette (1947), Bob Hope is a cowardly baby photographer who is mistaken for a private detective (played by Alan Ladd in a brief cameo). Later that year, The Bowery Boys released Hard Boiled Mahoney with the same mistaken-identity plot. Abbott and Costello Meet the Invisible Man (1951), A&C are detectives out to save a man framed by mobsters. Private Eyes (1953), The Bowery Boys open up a detective agency after Sach develops the ability to read minds. Underground sexploitation filmmakers also spoofed the genre. Nature's Playmates (1962) is one of exploitation producer H.G. Lewis' many "nudie-cutie" flicks. A beautiful female private eye tours Florida nudist camps in search of a missing man with a distinctive tattoo. Take It Out In Trade (1970) is Ed Wood's softcore porn take on the Philip Marlowe films. Cry Uncle! (1971) is another sex comedy inspired by vintage private eye films. Ginger (1971), The Abductors (1972), and Girls Are for Loving (1973) are softcore sexploitation comedies featuring Cheri Caffaro as tough private-eye Ginger. England also produced the sex comedy Adventures of a Private Eye (1977). The Pink Panther (1964) is the first in a series of comedies featuring Peter Sellers as the bumbling Inspector Clouseau. They Might be Giants (1971) stars George C. Scott as a mental patient who believes he is Sherlock Holmes. He and his female psychiatrist (Dr. Watson) go on a Don Quixote-type odyssey through New York. Gumshoe (1971) is a crime comedy about a man so inspired by Bogart's films he decides to play private eye. The Black Bird (1975), critically panned comedy sequel to The Maltese Falcon starring George Segal as Sam Spade Jr. and Elisha Cook, Jr. reprising his role of Wilmer Cook. The Adventure of Sherlock Holmes' Smarter Brother (1975), a Gene Wilder comedy. Murder by Death (1976) is Neil Simon's broad spoof of mystery films and Sam Spade, Charlie Chan, and Miss Marple. This was followed by The Cheap Detective (1978), an even broader spoof starring Peter Falk as a Bogart-like private eye. The Late Show (1977), quirky, contemporary detective story is largely an affectionate tribute to the classic Hammett/Chandler era. A trio of Chevy Chase comedies, Foul Play (1978), Fletch (1985), and Fletch Lives pays homage to vintage detective films and Hitchcock. The Man with Bogart's Face (1980), a detective has his face changed and becomes involved in a mystery that resembles The Maltese Falcon. The Private Eyes (1980) is a detective comedy with Tim Conway and Don Knotts. Dead Men Don't Wear Plaid (1982), set in the 1940s and filmed in black and white, Steve Martin plays a traditional hard-boiled detective who interacts with vintage film clips in Carl Reiner's cut-and-paste film noir farce. Hammett (1982), fictional account of Dashiell Hammett involved in actual mysteries that inspired his novels. Trenchcoat (1983), comedy about a female mystery writer who has to solve a real crime. Clue (1985), set in 1956, a period-piece whodunit spoof based on the popular board game. The Singing Detective (1986), a British miniseries about a mystery writer named Philip Marlow who is confined to a hospital bed. There his vivid fantasies of being an old-fashioned gumshoe are brought to life. Later remade as a feature film The Singing Detective in 2003. In 1987 Robert Mitchum was the guest host on Saturday Night Live where he played Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show also ran a short film he made called Out of Gas, a mock sequel to his 1947 classic Out of the Past. Jane Greer reprised her role from the original film. Without a Clue (1988) comedy about an actor (Michael Caine) hired to impersonate Sherlock Holmes. The Naked Gun (1988) and its sequels features Leslie Nielsen as an inept police lieutenant. Based on the short-lived Police Squad! TV series. The Gumshoe Kid (1990), an adolescent obsessed with Bogart gets his chance to be a detective in this R-rated comedy with Tracy Scoggins. A Low Down Dirty Shame (1994), comedy with Keenen Ivory Wayans as a private detective. The Naked Detective (1996), an R-rated softcore parody of film noir with fetish model/actress Julia Parton. The Scream franchise (1996)-(2011), which is a satire of the horror genre, has heavy elements of the detective, mystery and crime fiction genres, and is often self-referential. A Gun, a Car, a Blonde (1997), a paraplegic's fantasy (filmed in black and white) of being a tough private eye in a '50s film noir world. Brown's Requiem (1998), detective story based on James Ellroy's Chandleresque first novel. Zero Effect (1998) updates the Sherlock Holmes concept with a detective who is brilliant when working on a case but an obnoxious cretin when off duty. Where's Marlowe? (1998) drama about film makers following a low-level L.A. private detective. Camouflage (2000), private-eye comedy with Leslie Nielsen. Woody Allen's nostalgia for film noir, mysteries, and Bogart's tough-guy persona is evident in Play it Again, Sam (1972), Manhattan Murder Mystery (1993), and The Curse of the Jade Scorpion (2001). Twilight (1998), Paul Newman stars in this old-fashioned private eye yarn that's reminiscent of earlier films in the genre as well as his two Lew Harper films. I Heart Huckabees (2004) offbeat philosophical comedy involves two "existential detectives" (Dustin Hoffman and Lily Tomlin) hired to uncover the meaning of life. Broken Lizard's Club Dread (2004) is a murder mystery film that spoofs slasher films. Kiss Kiss Bang Bang (2005), crime-noir comedy inspired by hardboiled detective fiction and vapid L.A. culture. A Prairie Home Companion (2006), film of Garrison Keillor's radio show features the recurring character Guy Noir, a hardboiled detective whose adventures always wander into farce. In the season 6, episode 11 of Married... with Children, Al Bundy dreams he's a private detective who's being framed for the murder of a rich woman's father. Movie sleuths[] Mystery films have portrayed a number of notable fiction sleuths. Most of these characters first appeared in serialized novels. Sleuth(s) Author/Creator First film Lew Archer Ross Macdonald Harper (1966) Boston Blackie Jack Boyle Boston Blackie's Little Pal (1918) Torchy Blaine Louis Frederick Nebel Smart Blonde (1937) Charlie Chan Earl Derr Biggers The House Without a Key (1926) Nick and Nora Charles Dashiell Hammett The Thin Man (1934) Alex Cross James Patterson Kiss the Girls (1997) Hugh Drummond Herman Cyril McNeile Bulldog Drummond (1922) Mike Hammer Mickey Spillane I, the Jury (1953) Nancy Drew Carolyn Keene Nancy Drew, Detective (1938) Sherlock Holmes Sir Arthur Conan Doyle Sherlock Holmes (1908) Michael Lanyard Louis Joseph Vance The Lone Wolf (1917) Philip Marlowe Raymond Chandler Murder My Sweet (1944) Miss Marple Agatha Christie Murder, She Said (1961) Mr. Moto John Phillips Marquand Think Fast, Mr. Moto (1937) Hercule Poirot Agatha Christie Alibi (1931) Ellery Queen Frederick Dannay and Manfred B. Lee The Spanish Cape Mystery (1935) Easy Rawlins Walter Mosley Devil in a Blue Dress (1995) Michael Shayne Brett Halliday Michael Shayne, Private Detective (1940) Sam Spade Dashiell Hammett The Maltese Falcon (1931) Simon Templar Leslie Charteris The Saint in New York (1938) Dick Tracy Chester Gould Dick Tracy (1937) Philo Vance S. S. Van Dine The Canary Murder Case (1929) Bruce Wayne Bob Kane Batman (1943) Hildegarde Withers Stuart Palmer Penguin Pool Murder (1932) Nero Wolfe Rex Stout Meet Nero Wolfe (1936) James Lee Wong Hugh Wiley Mr. Wong, Detective (1938) References[] Michael R. Pitts, Famous Movie Detectives, 1979, Scarecrow Press, ISBN 0-8108-1236-3. Ted Sennett, Great Hollywood Movies, 1986, ISBN 0-8109-8075-4. See also[] List of mystery films Conspiracy thriller Crime fiction Film noir List of film noir List of female detective characters Thriller film Neo-noir Film genres By style Action (Arthouse • Heroic bloodshed • Hong Kong action) • Adventure (Survival) • Art • Biographical • Christian • Comedy (Black • Commedia all'italiana • Commedia sexy all'italiana • Bromantic • Dramedy • Gross out • Horror • Parody • Mo lei tau • Thriller • Remarriage • Romantic • Sex • Screwball • Silent • Slapstick) • Documentary (Animated • Docudrama • Mockumentary • Mondo • Pseudo • Semi • Travel) • Drama (Dramedy • Historical • Legal • Melodrama (Korean) • Erotic (Commedia sexy all'italiana • Pink • Sexploitation • Thriller) • Educational • Social guidance • Epic (Sword-and-sandal) • Experimental • Exploitation (see Exploitation film template) • Fantasy (Comic • Contemporary • Dark • Fairy tale • Fantastique • High • Historical • Magic realism • Science) • Film noir (Bad girl • Neo-noir • Occult detective • Pulp noir • Tech noir) • Gothic (Romance • Southern • Space • Suburban • Urban) • Horror (Body • Cannibal • Comedy • Eco • Fantastique • Found footage • German underground • Ghost • Giallo • Japanese • Korean • Mumblegore • Natural • New French Extremity • Occult detective • Psycho-biddy • Psychological • Religious • Science Fiction • Slasher • Splatter • Satanic) • Mumblecore (Mumblegore) • Musical (Backstage • Jukebox • Musicarello • Operetta • Sceneggiata) • Mystery (Giallo • Occult detective) • Pornographic (Hardcore pornography • Softcore pornography) • Propaganda • Reality • Romantic (Comedy (Bromantic)) • Gothic • Paranormal • Thriller) • Science fiction (Comic • Cyberpunk • Fantastique • Fantasy • Gothic • Horror • Military • Mundane • New Wave • Parallel universe • Planetary romance • Space opera • Steampunk • Western) • Thriller (Comedy • Conspiracy • Erotic • Financial • Giallo • Legal • New French Extremity • Political • Psychological • Romantic • Techno) • Transgressive (Cinema of Transgression • New French Extremity) • Trick By theme Animals • Beach party • Blaxploitation • Body swap • Bourekas • Buddy (Buddy cop • Female) • Cannibal • Chicano • Colonial • Coming-of-age • Concert • Crime (Gentleman thief • Gong'an • Heist • Hood • Gangster • Mafia • Mafia comedy • Poliziotteschi • Yakuza • Gokudō) • Dance • Disaster (Apocalyptic) • Drug (Psychedelic • Stoner) • Dystopian • Economic • Ethnographic • Extraterrestrial • Food and drink • Funny animal • Gendai-geki • Ghost • Goona-goona epic • Gothic (Romance • Southern • Space • Suburban • Urban) • Ecchi • Girls with guns • Harem • Hentai (Tentacle erotica) • Lolicon • Kaitō • Magical girl • Mecha • Shotacon • Yaoi • Yuri • Homeland • Jidaigeki • LGBT • Luchador • Martial arts (Bruceploitation • Chopsocky • Girls with guns • Gun fu • Kung fu • Wuxia) • Mecha • Mexploitation • Monster (Giant monster • Jiangshi • Kaiju • Vampire • Werewolf • Zombie) • Mountain • Mouth of Garbage • Muslim social • Nature (Environmental issues) • Opera • Outlaw biker • Ozploitation • Partisan film • Pirate • Prison (Women) • Race • Rape and revenge • Road • Rubble • Rumberas • Samurai • Sexploitation (Bavarian porn • Commedia sexy all'italiana • Mexican sex comedy • Nazi exploitation • Pornochanchada • Nunsploitation • Sex report) • Shomin-geki • Slavery • Slice of life • Snuff (Crush) • South Seas • Sports • Spy (Eurospy) • Superhero • Surfing • Swashbuckler • Sword-and-sandal • Sword and sorcery • Travel • Trial • Vigilante • War (Anti-war • Euro War • Submarine) • Western (Acid • Florida • Meat pie • Northern • Ostern • revisionist • Space • Spaghetti • Weird) • Zombie (Zombie comedy) By movement or period Absolute • Australian New Wave • Auteur films • Berlin School • Bourekas • Brighton School • British New Wave (Kitchen sink realism) • Budapest school • Cannibal boom • Cinéma du look • Cinema Novo • Cinema of Transgression • Cinéma pur • Commedia all'italiana • Documentary Film Movement • Dogme 95 • Erra Cinema • European art cinema • Film gris • Free Cinema • French New Wave • German Expressionist • German underground horror • Nigerian Golden Age • Grupo Cine Liberación • Heimatfilm • Hollywood on the Tiber • Hong Kong New Wave • Iranian New Wave • Italian futurist • Italian neorealist • Japanese New Wave • Kammerspielfilm • L.A. Rebellion • Lettrist • Mumblecore • Neorealist • New French Extremity • New German • New Generation • New Hollywood • New Nigerian • New Queer • No wave • Nuevo Cine Mexicano • Parallel Cinema • Persian Film • Poetic realist • Polish Film School • Poliziotteschi • Praška filmska škola • Prussian film • Pure Film Movement • Remodernist • Romanian New Wave • Spaghetti Western • Socialist realist • Social realist (Kitchen sink realism) • Soviet Parallel • Structural • Surrealist • Sword-and-sandal • Telefoni Bianchi • Third Cinema • Yugoslav Black Wave By audience Chick flick • Children's • Cult (midnight movie) • Guy-cry • Teen • Woman's By format, technique, approach, or production 3D • Actuality • Animation (anime • cartoon • computer • stop-motion • traditional) • Anthology • Art • B movie • Black-and-white • Blockbuster • Bollywood • Cinéma vérité • Classical Hollywood cinema • Collage • Color • Compilation • Composite • Database cinema • Docufiction • Ethnofiction • Experimental (Abstract) • Feature • Featurette • Film à clef • Film noir • Film-poem • Found footage • Grindhouse • Hyperlink cinema • Independent (Guerrilla filmmaking) • Interstitial art • Live action (animation) • Low-budget • Major studio • Making-of • Masala • Message picture • Meta-film • Mockbuster • Musical short • Mythopoeia • Neorealist • No budget • Paracinema • Participatory • Poetry • Postmodernist • Sceneggiata • Semidocumentary • Serial • Shinpa • Short • Silent • Socialist realist • Sound • Underground Lists of films by genre Action (Martial arts) • Adventure (Pirate) • Animation • Avant-garde • Biographical • Blaxploitation • Children's • Christian • Comedy • Crime • Disaster • Documentary • Drama (Historical) • Economics • Erotic • Fantasy • Ghosts • Horror (Eco • Kaiju • Giant-monster • Natural) • Independent short • LGBT • Mockumentary • Monster (Clowns • Toys) • Musical • Mystery • Noir • Neo-noir • Religious • Romance • Romantic comedy • Science fiction • Sports • Slavery • Superhero • Teen • Thriller (Legal) • War (anti-war) • Western (Spaghetti) Template:Crime fiction
6282	dbpedia	3	52	https://www.netflix.com/title/81458416	en	Watch Glass Onion: A Knives Out Mystery	https://occ-0-2773-2774.…yLMvy5.jpg?r=878	https://occ-0-2773-2774.…yLMvy5.jpg?r=878	[ "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/tx1O544a9T7n8Z_G12qaboulQQE/AAAABamKIL5xehelPPatnAlFQT45oF4M4T9z_ZSfMtmbxWzYbrfitdxsx0evdQXFRlht5NoUOlBdAX0w_g2HwADlbw6S5-d71WQpa3e9WCVhIoqvYctOJUrMwkBWeMkDS1xhEzQIy0klyUb8YY0-Etr3kVTjdwGA7335zk1iALFr48FGd6u5Qye0RQ.png?r=0f9", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/9pS1daC2n6UGc3dUogvWIPMR_OU/AAAABat5FxfNUQMeLbiCGsh3c8o4CTV_gcn6M20hCUgsqBpt7qJdXdfA0X8bWUBBLSB7MN8XWJq_sGYEuJw7bpdYEbCb30jX0PzBb17Fop2i-jAkVpurPSqdiPN0GQ.jpg?r=c8d", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/9pS1daC2n6UGc3dUogvWIPMR_OU/AAAABYJKumoZYRH8TdN2hKzopa8cFuNPfEvvmK_mI85lYbyBnaqviEKL_y3RSHHNhRrQ3bYnfeLgvbtHbnH3p8mxqAlJzSMae3sgHS7XDS-EKEIBN5Ol7y4RY1Rgqw.jpg?r=91f", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/9pS1daC2n6UGc3dUogvWIPMR_OU/AAAABUJrHibo5WHlANRZxr25c8Wkpozt9PwmL75AfubEOgaALprnA3o6DVn8NC_nba1FwQtTvuW76-TP--Szi1oNKGcPTS15lKPQIWUfQcCr9HX7QMj95c_MR_XN5g.jpg?r=3d3", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/9pS1daC2n6UGc3dUogvWIPMR_OU/AAAABR3_qze7JnrE1SJDt02f938SoliV7Wv0tqAQX5ZOyQOIg-iJvNWnLp31ndZQdW9PMYO4snpvuy6DfCRbzaR0lFwMRa-0t8XLmbEVroNQoOt1jYMHqWZwarhAvg.jpg?r=045", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABTrVSjjfUssGId8NR2EtZwDFNqOOaPp5g3j5irfgUairmSdjbn91aEwZJVl-yRWpD3bgwlDgiEyoabdzntsprMMLcAkgwrd8eu3_gYmvr48Wk_1EVhecyFbj-fd2SVF4sPt8Mg.jpg?r=9e6", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABWm2OemEDUC8x2FwaelOL1AZ_Ry6Sz1mL1qFxa2Uvitu2xGwtnlfpjTTQh4GCeUK-ESoiH86khcoZD1aaGNqy8GukSdUv2Num9J181PsEnfMmF9VesP-A1awvn7yl00mFwNutQ.jpg?r=116", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABQFqhHG_rhUYdLUOlARmeaI5cvXaa2n_zTndUZdwKKqIbLZohfSsXjJtrTTpqGhtMg030xYKcUqQtsDQAuI8HnyjdRPrVUehloiNt6nWQVDY6JOjsj4Zb9mu7GGRwakUNKSVCw.jpg?r=b38", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABQ0YwPOyTvPEumVYiglbkUzCFbu-EPTIaU1E0H5y19JW3ihjasfFg1Vlktm-glCj2TG80YBTU6XE5vZl5DrwCWhOnQosCbodFm-4tff6h_kUScRzJRVLkArjxZjayLHERDhK6Q.jpg?r=0e0", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABUOSBDVn4dpigC1VT4_ktDl5XGYVWlrDzfEb4TwlZPNwyCjakBZkMd0M9BnEOD_GBB7vKCbzqeYZWleKg9sShSW8Ij9TlAeM7O0Q86Ytu0GA4ajkegoxMWlzU12sMCHVJP3mvQ.jpg?r=347", "https://occ-0-2773-2774.1.nflxso.net/dnm/api/v6/Qs00mKCpRvrkl3HZAN5KwEL1kpE/AAAABdjc8FYScR1D2_nM-6NBKS2_eACj9Bvp8feRw0qhJW4ypWCXzoI3agmmMudY3dNpM2M1Shf6Vkbli8bhQe4ahQcnAq3txTQ6bw-hvpAK6X13_FJK_Vz8wQbvg_VskGP5Bd9WHw.jpg?r=fb8" ]	[]	[]	[ "watch movies", "movies online", "watch TV", "TV online", "TV shows online", "watch TV shows", "stream movies", "stream tv", "instant streaming", "watch online", "movies", "watch movies Germany", "watch TV online", "no download", "full length movies" ]	null	[]	2022-12-23T00:00:00	World-famous detective Benoit Blanc heads to Greece to peel back the layers of a mystery surrounding a tech billionaire and his eclectic crew of friends. Watch trailers & learn more.	en	https://assets.nflxext.com/us/ffe/siteui/common/icons/nficon2023.ico		https://www.netflix.com/de-en/title/81458416	World-famous detective Benoit Blanc heads to Greece to peel back the layers of a mystery surrounding a tech billionaire and his eclectic crew of friends. Starring:Daniel Craig, Edward Norton, Janelle Monáe
6282	dbpedia	1	30	https://memphismagazine.com/ask-vance/a-newspaper-ad-for-memphis-first-drive-in-movie-theater/	en	A Newspaper Ad for Memphis' First Drive-In Movie Theater?	https://memphismagazine.…2be005fa1&w=1200	https://memphismagazine.…2be005fa1&w=1200	[ "https://memphismagazine.com/api/design-d8556f04340837e82a1603d24bc9202c/2022_MMLogo.svg", "https://memphismagazine.com/api/design-d8556f04340837e82a1603d24bc9202c/2022_MMLogo.svg", "https://memphismagazine.com/downloads/3366/download/LamarDriveInAd-1940-1.JPG?cb=32ea324009533dd55dde09d2be005fa1&w={width}&h={height}", "https://memphismagazine.com/downloads/37185/download/August2024cover.jpg?w=1200", "https://memphismagazine.com/ask-vance/a-newspaper-ad-for-memphis-first-drive-in-movie-theater/api/design/2022_MMLogo.png", "https://pixel.quantserve.com/pixel/p-f1fIll8qr34b2.gif" ]	[]	[]	[ "November-2012", "Ask-Vance", "Vance Lauderdale", "Ask Vance November 2012" ]	null	[ "Vance Lauderdale", "memphismagazine.com", "vance-lauderdale" ]	2012-11-27T10:25:00	In our November issue, I tell the story of the old, and original, Summer Drive-In, which opened in 1948 at the corner of Summer and White Station. I'd tell you more, but I certainly expect you to b...	en	https://memphismagazine.…c/mm-favicon.png	Memphis magazine	https://memphismagazine.com/ask-vance/a-newspaper-ad-for-memphis-first-drive-in-movie-theater/	In our November issue, I tell the story of the old, and original, Summer Drive-In, which opened in 1948 at the corner of Summer and White Station. I'd tell you more, but I certainly expect you to buy the magazine and read the article, dang it all. Anyway, I implied that this might have been our city's first drive-in movie theater, though I had always suspected that the Lamar Drive-In actually preceded the one on Summer. But where was the proof? Well, I finally found it when, alone in the Lauderdale Mansion Library one night this week, I was looking over a July 3, 1940, edition of the Memphis Press-Scimitar (it's true!) and noticed the tiny ad you see here. Back then, the newspapers would devote an entire page to their movie listings, so this two-inch notice didn't jump right out at me, but there it is — announcing the 1939 film Man of Conquest, described as the "Story of Sam Houston," and starring Richard Dix and Joan Fontaine. What's interesting — well, to me anyway — is that the ad didn't bother mentioning the actual name of the drive-in, which tells me it was the only such venue in town. And we are left to infer that it is indeed the Lamar by the directions printed at the bottom —"1/2 mile south of city limits on Lamar Avenue." And gosh, look at the prices: 10 cents for children and 30 cents for adults. And — this really makes no sense to me — cars get in free. Gosh, that's pretty generous of them, for a drive-in and all. The movie posters for Man of Conquest described it as "Adventure Beyond Daring!" So too, do many tales of my own life. Though drive-ins, then and now, didn't always show the top-rated films, this was a pretty big movie in its day, produced by Republic Pictures and featuring some of its biggest stars. Dix, who had a movie career spanning more than 20 years, was considered a leading man by Hollywood standards, and a quick check of the Internet Movie Database shows that he also starred in a mostly forgotten mystery series as a character known as the Whistler, with such compelling titles as The Whistler, The Mark of the Whistler, The Power of the Whistler, and even The Secret of the Whistler. Co-star Joan Fontaine, the younger sister of Olivia de Havilland, was a star in her own right, and in fact, the movie ad refers to "Rebecca" but that's not her role in the Sam Houston movie, but the 1940 film that earned her an Oscar nomination. And since I'm just plagiarizing imdb.com here, I might as well mention that Man of Conquest is also noteworthy because "it was Edith Head's first credit as a costume designer." And it all started with Sam Houston! Finally, I'll tell you that Man of Conquest must have been a tough film on everyone involved. The director had to be hospitalized, and even replaced when he didn't recover soon enough, and star Richard Dix broke two bones "during the wrestling scene." Wrestling scene?
6282	dbpedia	3	29	https://www.britannica.com/biography/Alfred-Hitchcock	en	Alfred Hitchcock \| Biography, Movies, The Birds, Psycho, Vertigo, & Facts	https://cdn.britannica.c…ed-Hitchcock.jpg	https://cdn.britannica.c…ed-Hitchcock.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/09/11009-004-BC1C024D/Alfred-Hitchcock.jpg", "https://cdn.britannica.com/46/90646-004-0BCCE41D/Scene-The-Man-Who-Knew-Too-Much.jpg", "https://cdn.britannica.com/29/90629-004-B6082487/Poster-Alfred-Hitchcock-Margaret-Lockwood-The-Lady.jpg", "https://cdn.britannica.com/75/90675-004-2A445330/Joan-Fontaine-Rebecca-Laurence-Olivier-Alfred-Hitchcock.jpg", "https://cdn.britannica.com/90/66190-004-1BCD87FF/Tallulah-Bankhead-Alfred-Hitchcock-Lifeboat-1944.jpg", "https://cdn.britannica.com/87/210487-004-16FBF8F1/Ingrid-Bergman-Gregory-Peck-Norman-Lloyd-Spellbound-1945.jpg", "https://cdn.britannica.com/43/176343-004-B66767F0/Farley-Granger-Robert-Walker-Strangers-on-a.jpg", "https://cdn.britannica.com/72/172372-004-275DE05D/Alfred-Hitchcock-Grace-Kelly-set-Dial-M.jpg", "https://cdn.britannica.com/50/93450-004-33CD1CF8/Grace-Kelly-James-Stewart-Rear-Window.jpg", "https://cdn.britannica.com/02/153002-004-DF747427/James-Stewart-Vertigo-Kim-Novak-Alfred-Hitchcock.jpg", "https://cdn.britannica.com/23/114923-131-785286EA/projection-screen-movie-theater-cinema.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-statue-2009.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/30/215530-131-711EC3C6/Movie-still-Harold-Lloyd-Safety-Last-1923.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/84/178184-131-0B1E3AC6/Alfred-Hitchcock-publicity-photo-The-Birds-director-1963.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/44/191244-131-50EB6F02/Set-The-Hobbit-An-Unexpected-Journey.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/11/185311-131-A05F5992/Tom-Cruise-Top-Gun-Tony-Scott.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/47/190947-131-FCF3F960/Olympic-torch-illustration-sports-summer-games.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/51/190751-131-B431C216/soccer-ball-goal.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/70/191970-131-A85628DA/Color-wheel-light-color-spectrum.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/41/166941-131-E27FD3A6/Yingxiu-school-China-Sichuan-earthquake-May-2008.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/71/196471-131-8FEA8DDD/Daily-Police-Bulletin-Elizabeth-Short-Black-Dahlia-January-1947.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/52/177852-131-F262A16C/weta-Cook-Strait-harbour-Matiu-Somes-Island-Wellington-Dec-17-2009.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/09/11009-004-BC1C024D/Alfred-Hitchcock.jpg?w=300", "https://cdn.britannica.com/23/114923-131-785286EA/projection-screen-movie-theater-cinema.jpg", "https://cdn.britannica.com/46/90646-050-11D0C1AE/Scene-The-Man-Who-Knew-Too-Much.jpg?w=300", "https://cdn.britannica.com/29/90629-050-98D7E593/Poster-Alfred-Hitchcock-Margaret-Lockwood-The-Lady.jpg?w=300" ]	[]	[]	[ "Alfred Hitchcock", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "Michael Barson" ]	1998-07-20T00:00:00+00:00	Alfred Hitchcock was an English-born American motion-picture director whose suspenseful films and television programs won immense popularity and critical acclaim over a long and tremendously productive career. His films are marked by a macabre sense of humor and a somewhat bleak view of the human condition.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Alfred-Hitchcock	Alfred Hitchcock English-born American director Recent News July 28, 2024, 8:43 AM ET (The Telegraph) Invasion of gulls turns town 30 miles from coast into ‘Hitchcock horror film’ Alfred Hitchcock (born August 13, 1899, London, England—died April 29, 1980, Bel Air, California, U.S.) was an English-born American motion-picture director whose suspenseful films and television programs won immense popularity and critical acclaim over a long and tremendously productive career. His films are marked by a macabre sense of humor and a somewhat bleak view of the human condition. (Read Alfred Hitchcock’s 1965 Britannica essay on film production.) Early life Hitchcock grew up in London’s East End in a milieu once haunted by the notorious serial killer known as Jack the Ripper, talk of whom was still current in Hitchcock’s youth two decades later. Although he had two siblings, he recalled his youth as a lonely one, with a father who was a stern disciplinarian; it is said that he once ordered Alfred to appear at the local police station with a note saying that he had been misbehaving, whereupon the sergeant on duty (at the request of Hitchcock’s father) locked him up for a few minutes, a sufficient length of time to give Alfred a fear of enclosed spaces and a strong concern for wrongful imprisonment, both of which would figure in his later work. When he was not being disciplined, he was cosseted by an overly watchful mother, who used food as a balm—to which he would later trace his trademark paunch. Hitchcock went to St. Ignatius College before attending the London County Council School of Marine Engineering and Navigation in 1913–14. He worked in the sales department at W.T. Henley’s Telegraph Works Company until 1918, when he moved to the advertising department. Giving in to his artistic side, Hitchcock enrolled at the University of London in 1916 to take drawing and design classes. His facility in that field in 1920 helped land him a spot designing title cards (which silent films required) for the American film company Famous Players–Lasky, which had opened a British branch in Islington. When Famous Players closed down its British branch in 1922, he stayed on at Islington. He worked on films for independent producers and came to assume more responsibility, working as an art director, production designer, editor, assistant director, and writer. First films Britannica Quiz Oscar-Worthy Movie Trivia Hitchcock’s first film as a director was the comedy Mrs. Peabody (1922; also called Number 13), which was not completed, for lack of funding. His first released film was Always Tell Your Wife (1923), which he codirected with its star Seymour Hicks, but he did not receive credit. Solo credit did not come for another two years, with the melodrama The Pleasure Garden (1925). That was followed by The Mountain Eagle (1926), a drama set in the Kentucky mountains. But it was The Lodger: A Story of the London Fog (1927) that both he and students of the cinema would come to regard as his first “real” work—and one that very much drew on his youthful surroundings. Adapted from a popular novel by Marie Belloc Lowndes, the suspenseful story introduces the structure of many Hitchcock films to come: a London man (Ivor Novello) is accused of being a Jack the Ripper-like killer and finds it nearly impossible to prove his innocence. The film became his first hit and also was the first film in which he made his trademark cameo appearance. In 1926 Hitchcock married his film editor and script supervisor, Alma Reville. The following year he made the melodrama Downhill, Easy Virtue (from a Noel Coward play), and the boxing drama The Ring, which was a critical success. The comedies The Farmer’s Wife and Champagne (both 1928) were followed by the tragic romance (and box-office hit) The Manxman (1929). Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Hitchcock’s first talking picture was the thriller Blackmail (1929). One of the year’s biggest hits in England, it became the first British film to make use of synchronized sound only after the completed silent version was postdubbed and partly reshot. Polish actress Anny Ondra (who had starred in The Manxman) played a would-be model who stabs an artist when he tries to assault her. The murder investigation is headed by the model’s fiancé, but she is being blackmailed for the killing and is afraid to confide in him. The film’s most memorable sequence is a chase through the British Museum and across its roof, but Hitchcock builds the mood of encroaching menace throughout. Juno and the Paycock (1929) was adapted from Sean O’Casey’s popular play, while Elstree Calling (1930) was a collection of musical and comedy sketches that Hitchcock codirected with three others. Murder! (1930) provided Hitchcock with another opportunity to explore cinematic suspense. Shot simultaneously in a German-language version (Mary, 1931), it stars Herbert Marshall as Sir John Menier, a gentleman knight and famed actor who turns amateur sleuth in order to save from the gallows an actress who has been convicted of murder. Though light in tone, the film is distinguished by its dramatic camera work, colorful theatrical setting, and groundbreaking use of voice-over narration. Neither The Skin Game (1931) nor Rich and Strange (1931; also called East of Shanghai), an odd comedy, made much of an impact at the time of release, but Number Seventeen (1932) offered a thrilling chase finale. The musical Waltzes from Vienna (1934; also called Strauss’s Great Waltz) was Hitchcock’s last foray into that genre. First international releases: The Man Who Knew Too Much to Jamaica Inn Hitchcock signed with Gaumont-British in 1934, and his first film for that company, The Man Who Knew Too Much (1934), was also his first international success. Leslie Banks and Edna Best star as the Lawrences, a married couple on vacation in Switzerland with their daughter Betty (Nova Pilbeam). They inadvertently become enmeshed in a plot to assassinate a diplomat when the conspirators kidnap Betty to ensure the Lawrences’ silence until the deed is accomplished by the lethal Abbott (German actor Peter Lorre in his first English-speaking role). In just 75 minutes, culminating with the classic Royal Albert Hall finale, Hitchcock established himself as the new master of the sinister. Hitchcock built on that foundation with The 39 Steps (1935), an adaptation of John Buchan’s thriller. Robert Donat played the archetypal Hitchcock protagonist: an innocent vacationer unwillingly drawn into an elaborate scheme hatched by a nest of spies. On the run, handcuffed to a young woman (Madeleine Carroll) whom he has just met, they are hunted while they try to decipher the meaning of the film’s mysterious title. This was a premier example of a genre Hitchcock virtually invented—the romantic thriller. Secret Agent (1936) offers Carroll, John Gielgud, and Lorre as undercover agents for British intelligence, traipsing through the Swiss Alps on the trail of hostile spies. Based on W. Somerset Maugham’s Ashenden, the film subsumes romantic byplay in favour of plentiful mordant humour. Sabotage (1936) was far less playful, as might be expected of an adaptation of Joseph Conrad’s novel about terrorism, The Secret Agent. Sylvia Sidney played Winnie Verloc, who is married to a terrorist (Oscar Homolka) who gives her young brother (Desmond Tester) a bomb-laden suitcase to deliver without telling him of its contents; the lad dallies while delivering it, and the suitcase explodes in an intensely suspenseful sequence. Young and Innocent (1937) was considerably more charming and still offered much in the way of suspense. Derrick de Marney starred as a young man who (once again) has been unjustly accused of murder; Pilbeam played the local constable’s teenage daughter who decides to help the accused, and they quickly fall in love. The Lady Vanishes (1938) is a deft thriller that finds a traveler (Margaret Lockwood) riding a train across Europe; she wonders at the sudden—and apparently unnoticed—disappearance of another fellow traveller (Dame May Whitty), but no one else on the train seems to remember her. This was Hitchcock’s biggest hit—in both England and the United States—since The 39 Steps, and its masterful synthesis of comedy and suspense inspired American producer David O. Selznick to sign Hitchcock to a long-term contract. Before moving to Hollywood, however, Hitchcock made one last picture in England, the Gothic costumer Jamaica Inn (1939), from a popular novel by Daphne du Maurier; Charles Laughton played a country squire who secretly heads a band of pirates.
6282	dbpedia	0	0	https://en.wikipedia.org/wiki/The_Secret_of_the_Whistler	en	The Secret of the Whistler	https://upload.wikimedia…poster_small.jpg	https://upload.wikimedia…poster_small.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/4/43/Secret_of_the_whistler_poster_small.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-09-29T16:01:46+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Secret_of_the_Whistler	1946 film by George Sherman The Secret of the WhistlerDirected byGeorge ShermanScreenplay by Richard H. Landau Raymond L. Schrock Based onThe Whistler 1942-55 radio series by J. Donald WilsonProduced byRudolph C. FlothowStarring Richard Dix Leslie Brooks Michael Duane Narrated byOtto ForrestCinematographyAllen G. SieglerEdited byDwight CaldwellMusic byHerschel Burke Gilbert Production company Larry Darmour Productions Distributed byColumbia Pictures Release date Running time 65 minutesCountryUnited StatesLanguageEnglish The Secret of the Whistler is a 1946 American mystery film noir based on the radio drama The Whistler. Directed by George Sherman, the production features Richard Dix, Leslie Brooks and Michael Duane.[1] It is the sixth of Columbia Pictures' eight "Whistler" films produced in the 1940s, all but the last starring Dix. Plot [edit] Ralph Harrison (Richard Dix) is married to Edith (Mary Currier), a rich woman who has been suffering heart attacks. Upset by her condition, he finds consoling companionship with an artist's model, the unscrupulous gold-digger Kay (Leslie Brooks). He falls in love with Kay. Edith's health then improves. Edith overhears Ralph professing his love for Kay. Edith threatens Ralph, saying she's going to take him out of her will. He decides to poison her, with her own medicine, before she can meet with her lawyers. After Edith dies, Ralph marries Kay, who becomes suspicious of how Edith died and worried for her own fate. Finding incriminating diary pages and the medicine, she has the medicine analyzed, discovering that it was poisoned. Ralph overhears Kay's phone conversation with the lab. Pretending to embrace her, he strangles her to death, just as the police arrive and arrest him for murder - but not for the murder of Edith, because she had not taken the poisoned medicine but died of a heart attack. Cast [edit] Richard Dix as Ralph Harrison Leslie Brooks as Kay Morrell Michael Duane as Artist Jim Calhoun Mary Currier as Edith Marie Harrison Mona Barrie as Linda Vail Ray Walker as Joseph Aloysius 'Joe' Conroy Claire Du Brey as Laura - Harrison's Servant Otto Forrest as The Whistler Reception [edit] TV Guide rated it 3/5 stars and called it "engrossing as usual and well acted".[2] References [edit]
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6282	dbpedia	1	67	https://wordfinder.yourdictionary.com/nyt-connections/	en	Connections NYT Hints & Answers (August 16)	https://wordfinder.yourd…avicon-96x96.png	https://wordfinder.yourd…avicon-96x96.png	[ "https://wordfinder.yourdictionary.com/static/images/ic_wfw_header.png", "https://wordfinder.yourdictionary.com/static/images/ic_yd_wordscapes.png", "https://wordfinder.yourdictionary.com/static/images/ic_wfw_header.png", "https://wordfinder.yourdictionary.com/static/images/ic_ydr_header.png", "https://wordfinder.yourdictionary.com/static/images/ic_click.png", "https://wordfinder.yourdictionary.com/_nuxt/img/store-apple.9e0f655.png", "https://wordfinder.yourdictionary.com/_nuxt/img/store-google.5c5a713.png", "https://wordfinder.yourdictionary.com/_nuxt/img/facebook.2be2387.svg", "https://wordfinder.yourdictionary.com/_nuxt/img/ic-x.7496d3f.svg", "https://wordfinder.yourdictionary.com/_nuxt/img/instagram.303d877.svg", "https://wordfinder.yourdictionary.com/static/images/ic_wfw_header.png", "https://wordfinder.yourdictionary.com/static/images/ic_ft_ws.png", "https://wordfinder.yourdictionary.com/static/images/ic_ft_cwh.png", "https://wordfinder.yourdictionary.com/static/images/ic_ft_wlf.png", "https://wordfinder.yourdictionary.com/static/images/ic_wfw_header.png", "https://wordfinder.yourdictionary.com/static/images/ic_ft_yd.png" ]	[]	[]	[ "" ]	null	[ "WordFinder team" ]	2023-11-21T08:00:00+00:00	Unlock daily hints and answers for NYT Connections. Dive into our user-friendly tool and elevate your gameplay. Get started now!	en	/favicon-96x96.png		https://wordfinder.yourdictionary.com/nyt-connections/	NYT Connections: The Daily Word Game You Can’t Wait to Play If you’re into the thrill of wordplay, then NYT Connections is bound to be your next obsession. Created by The New York Times, this engaging word game challenges you to group words based on common themes. From book titles to software to country names, the possibilities are endless. You’ll find yourself making connections between words you never thought possible, like “ant” and “island,” or “mark” and “sucker.” There’s a connection there, we promise. If you’re interested in dipping your toes into the NYT’s Connections game, you can play it daily on either your web browser or your mobile device, and share your victories on social media. And with our help, well — there’s bound to be many victories to share! How to Play NYT Connections In every puzzle, you’re presented with 16 words to categorize into four themed groups. Remember, while multiple words may seem connected, there’s only one correct grouping! With each successful grouping, the words disappear from the board. That’s right — if you’re seeing your words disappear, you’re on the right track. But be cautious — you're allowed only four mistakes before it's game over! Utilize the board shuffle feature and color-coded difficulty levels — ranging from yellow (easiest) to purple (hardest) — to aid in your gameplay when needed. And, hey, if all else fails — you’ve also got our NYT Connections hints to help you out, right? So, Why Use Our Tool for NYT Connections Help?
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Empire has the definitive guide to the best trilogies out there, including Back to the Future and The Lord of The Rings.	en	/assets/empire/favicon.ico	Empire	https://www.empireonline.com/movies/features/trilogy/	We asked you to vote for your favourite all-time movie trilogies, and you answered in your thousands. Some of you plumped for pure three-somes, untinged by inconvenient further sequels; others specified which three films in a series you meant - and, where there's a coherent narrative to back you up, we've allowed it. So here, without further ado, are the greatest film trios for your enjoyment... 33. The Jersey Trilogy Clerks (1994) Mallrats (1995) Chasing Amy (1997) Director Kevin Smith Starring Brian O'Halloran, Jeff Anderson, Jason Mewes, Kevin Smith, Shannon Doherty, Jeremy London, Claire Forlani, Jason Lee, Ben Affleck, Joey Lauren Adams, Ethan Suplee A loose trilogy, this, but we're assuming you readers felt this list was a little light on profanity and needed some explicit discussion of oral sex to balance out the selection. And on that basis it's hard to surpass Kevin Smith's first three films, a more grounded group than his follow-ons and, in the case of Chasing Amy especially, a near perfect mix of foul mouthery, far too in-depth geek discussions and warm heart. Smith hasn't surpassed Amy yet, but we can only hope he keeps trying to at least equal it. It just goes to show you don't need fallen angels, chimps or even Rosario Dawson to make a great movie. Weakest link? Mallrats, which didn't deserve the kicking it got on release but is also by far the weakest of the three. Fun fact: Wondering where the letters in the Clerks logo came from? Well, C is from Cosmopolitan, L is from Life, E is from Rolling Stone, R is from Ruffles potato chips, K is from Clark Bar and S is from a Goobers box. What to say... "I'm not even supposed to be here today." ...and what not to say. "Hasn't it become abundantly clear during the tenure of our friendship that I don't know shit?" 32. Hannibal Lecter Trilogy The Silence of the Lambs (1991) Hannibal (2001) Red Dragon (2002) Director Jonathan Demme, Ridley Scott, Brett Ratner Starring Anthony Hopkins, Jodie Foster, Ted Levine, Scott Glenn, Julianne Moore, Ray Liotta, Gary Oldman, Giancarlo Giannini, Edward Norton, Ralph Fiennes, Harvey Keitel, Mary Louise Parker, Philip Seymour Hoffman Anthony Hopkins' performance as Hannibal Lecter in The Silence of the Lambs is the shortest ever to win Best (leading) Actor at the Oscars. He's only onscreen for 16 minutes, but such is his domination of the film that you'd swear it was two or three times that. It's no wonder that studios kept trying to recapture that lightning in a bottle, recruiting cinema's best ever villain for a sequel and a prequel (there's another prequel, not starring Hopkins and not included here) which saw diminishing returns but which still benefitted from that uncanny, barely blinking performance. So why not settle down with a nice Chianti and enjoy the cannibal holocaust? Weakest link? For perhaps the only time in history, we're going to argue that a Ridley Scott film is weaker than a Brett Ratner one. Hannibal suffers from the world's worst last act (in fairness, hamstrung by the source novel and improving slightly on it) whereas Red Dragon is a decent if unexceptional thriller. Fun fact: The Silence of the Lambs is one of only three films ever to win all "Big Five" Oscars: Best Film, Director, Screenplay, Actor and Actress. The other two are It Happened One Night and One Flew Over the Cuckoo's Nest. What to say... "I ate his liver with some fava beans and a nice Chianti." ...and what not to say. "I wonder what human liver tastes like. " 31. The Ingmar Bergman Trilogy Through A Glass Darkly (1961) Winter Light (1962) The Silence (1963) Director Ingmar Bergman Starring Harriet Andersson, Gunnar Bjornstrand, Max Von Sydow, Ingrid Thulin, Gunnel Lindblom, Jorgen Lindstrom Although it's too much of a stretch to call it Bergman's franchise, this early '60s troika are exquisite chamber pieces built around themes of sanity, madness and the wavering of religious faith, thus earning the right to be called a trilogy. Through A Glass Darkly charts a family's descent into madness on a remote island. Winter Light sees a pastor in a spiritual meltdown and might be the grimmest film Bergman ever made (and that's saying something). The Silence ticks all the art house boxes, depicting lesbianism, a troupe of dwarves, symbolism and Ingrid Thulin dying of tuberculosis; it was a surprise hit due its explicit (for the time) rumpy-pumpy scenes. Each film is marked by eerie settings, minimal dialogue, great Sven Nykvist photography and superb performances from Bergo's stock company. If you're feeling a bit down in the dumps, however, best stick with Glee. Weakest link? Although it won the Best Foreign Language Film Oscar (What did you expect? Best Visual Effects?), Through A Glass Darkly is the least affecting of the three. Still compelling stuff though. Fun fact: When Kabi Laretei (Bergman's wife at the time) saw Winter Lights for the first time, she said, "Ingmar, it's a masterpiece. But it's a dreary masterpiece." What to say... "These three films deal with reduction. Through a Glass Darkly - conquered certainty. Winter Light - penetrated certainty. The Silence - God's silence - the negative imprint. Therefore, they constitute a trilogy. - Ingmar Bergman" ...and what not to say. "Through A Glass Darkly? Is that the Keanu Reeves cartoon?" 30. Mission: Impossible 1-3 Mission: Impossible (1996) Mission: Impossible II (2000) Mission: Impossible III (2006) Director Brian De Palma, John Woo, JJ Abrams Starring Tom Cruise, Jon Voigt, Emmanuelle Beart, Jean Reno, Ving Rhames, Vanessa Redgrave, Dougray Scott, Thandie Newton, Richard Roxburgh, Michelle Monaghan, Philip Seymour Hoffman, Billy Crudup, Simon Pegg, Kerry Russell Opening with the death of most of its cast, Mission: Impossible made it clear from the get-go that it was going to keep you on your toes. And that's something that the series has largely managed since, with a succession of cunning disguises, plans-within-plans and daring heists unfolding in a way that may dizzy the logic but keeps the entertainment centres of the brain hopping. The second film suffered some setbacks, but JJ Abrams' third effort marked a return to form and some of the most intricate scheming yet. We're still not sure it's possible to make silicone masks that convincing though. Weakest link? Mission: Impossible II, which takes the whole people-peeling-off-their-faces thing to ridiculous levels, and definitely places style (and floppy hair) over substance. Fun fact: At one point, Kenneth Branagh was set to be the bad guy in Mission: Impossible III, but dropped out when delays caused the film to conflict with his own film, As You Like It. What to say... "This message will self-destruct." ...and what not to say. "It's more of a Mission: Quite Difficult though, isn't it? Because he keeps managing it." 29. Trilogy of the Dead Night of the Living Dead (1968) Dawn of the Dead (1978) Day of the Dead (1985) Director George A. Romero Starring Duane Jones, Judith O'Dea, Marilyn Eastman, Karl Hardman, Ken Foree, David Emge George A. Romero loosed a plague upon the world. Before his 1968 salvo, there was essentially no such thing as a zombie - certainly nothing in the mainstream, apt to spawn survival guides and HBO shows and twists on Jane Austen. But such was the power of the ultra low-budget Night of the Living Dead and its equally scathing, satirical sequels, that the zombie became the cultural powerhouse we all know and love. While the three zombie follow-ups Romero's made since have met with mixed receptions, there's no question that these three will gnaw their way into your brain and stay there. Triumphant. Weakest link? Well, parts four, five and six actually; the original three are all rather brilliant. But if we have to choose, we'll say Day, which has suffered more than the other two from the endless imitations. Fun fact: Need some fake blood for your black-and-white genre-creating zombie movie? Why, just buy some stocks of Bosco Chocolate Syrup! Delicious and gruesome. What to say... "This situation must be controlled before it's too late. They're multiplying too rapidly!" ...and what not to say. "Braaaaaaaaaaaaiiiiiiiiiiiiiiiiiiiiiinnnnnnnssss!" 28. The Mariachi Trilogy El Mariachi (1992) Desperado (1995) Once Upon A Time In Mexico (2003) Director Robert Rodriguez Starring Carlos Gallardo, Antonio Banderas, Salma Hayek, Cheech Marin, Joaquin de Almeida, Steve Buscemi, Quentin Tarantino, Danny Trejo, Johnny Depp, Willem Dafoe, Eva Mendes, Mickey Rourke, Enrique Iglesias From humble beginnings with funding gained by the director's willingness to undergo medical experimentation to a star-studded finale, Robert Rodriguez' Mariachi trilogy has - and we're willing to put our reputations on the line on this one - more weapons hidden in guitar cases than any other series on this list. Like Evil Dead, the second film is more or less a remake of the first, and the moment when the series really hits its stride, but all three of them are stylish and improbably entertaining, what with the two-handed gunfights and the Mexican stand-offs (of course) and the thousands of squibs popping on every side. It'll make you want to learn guitar, and then want to carve out the middle of the guitar and hide a couple of machine guns in there. Weakest link? The finale, which pays for its star power in narrative coherence and originality. We still love the bit with Johnny Depp's CIA agent wandering around in a T-shirt that reads CIA, but it can't quite push it to the top. Fun fact: The villain in the third film and the Chihuahua in the third are both called Moco, which means boogers in colloquial Spanish. What to say... "Bless me, Father, for I have just killed quite a few men." ...and what not to say. "Are you a Mexi-CAN or a Mexi-CAN'T?" 27. The Millenium Trilogy The Girl With The Dragon Tattoo (2010) The Girl Who Played With Fire (2010) The Girl Who Kicked The Hornet's Nest (2009) Director Niels Arden Oplev, Daniel Alfredson, Daniel Alfredson Starring Noomi Rapace, Michael Nyqvist, Lena Endre, Peter Haber, Peter Andersson, Yasmine Garbi, Georgi Staykov, Anders Ahlbom, Micke Spreitz Scientists have shown that every single London Underground train for the last two years has contained at least one person reading a Stieg Larsson book, and with great popularity comes great movie adaptations. What's nice is that the Swedes got a head-start on this, finishing their film trilogy while the English-speaking world was still waiting for the translation of the third book - and it's currently quite hard to imagine how David Fincher's film can measure up. The first film is the best of these, but filmed back-to-back and with exceptional unity of style, they've set a very high bar for future adaptations of the series. MVP for the series is Noomi Rapace, a stunningly well-cast Lisbeth Salander and a heroine for the 21st century. Weakest link? Perhaps The Girl Who Played With Fire, which doesn't quite have the impact of the first film or the nicely rounded ending of the third. But they're all at least decent. Fun fact: Dolph Lundgren was offered the part of German giant Ronald Niederman, and had he taken it it would have been his first role in his native Sweden. What to say... "While I'm looking forward to David Fincher's take on the material, it remains to be seen if Rooney Mara can match Noomi Rapace's performance." ...and what not to say. "So is this some kind of sequel to The Girl With The Pearl Earring?" 26. The Blade Trilogy Blade (1998) Blade 2 (2002) Blade: Trinity (2004) Director Stephen Norrington, Guillermo del Toro, David Goyer Starring Wesley Snipes, Kris Kristofferson, Stephen Dorff, Ron Perlman, Luke Goss, Ryan Reynolds, Jessica Biel Hard as it may be to remember, Blade was really the movie that started the current comic-book superhero trend. From the moment that Wesley Snipes growled his way onscreen and dusted a room full of clubbing bloodsuckers, it was clear that this was a strong, silent vampire slayer we could believe in. Originally paired only with Kris Kristofferson's equally gruff tech-guy, the series opened out to include del Toro's "Blood Pack" in the second film and the third film's Nightstalkers - which, it's fair to say, had mixed results. Still, the series always gave us imaginative vampire kills (we particularly like that UV bow) and Snipes was born to play the Daywalker. Weakest link? By several country miles, Blade: Trinity. With the exception of Ryan Reynolds' delivery of one of cinema's greatest all-time insults, it has very little to recommend it. Fun fact: Oliver Hirschbiegel was at one point in line to direct Blade: Trinity, but left to make Downfall instead when that came together. YouTube parodies or not, that's what we call a win. What to say... "It's open season on all suckheads." ...and what not to say. "You cock-juggling thundercunt!" 25. The Mighty Ducks Trilogy The Mighty Ducks (1992) D2: The Mighty Ducks (1994) D3: The Mighty Ducks (1996) Director Stephen Herek, Sam Weisman, Robert Lieberman Starring Emilio Estevez, Joss Akland, Joshua Jackson, Lane Smith, Heidi Kling, Kathryn Erbe, Carsten Norgaard You guys! You were kidding, right? Or maybe it's just the nostalgia of a certain generation kicking in, or the fact that many people brought up on Dawson's Creek will forever love Pacey, or "Charlie Conway" as Joshua Jackson was known here. In any case, here we are, and the Mighty Ducks trilogy is higher up this list that Ingmar Bergman or George A. Romero. Let's just take a moment and think about that - or, even better, let's not. We'll be charitable, and credit it to Pacey love and a continuing admiration for Emilio Estevez and/or Joss Akland. And then let's draw a veil over this entire affair. Weakest link? It's hard to say, but D3 is generally regarded as the weakest, what with its been-done snob team vs. ragtag team plot. Over. It. Fun fact: Like, OMG, Charlie in the movie says he is allergic to nuts because - get this! - Joshua Jackson is allergic to nuts in real life. I know, right? What to say... "Are you going to Pacey-Con next year? Wanna book our rooms now?" ...and what not to say. "Are you kidding?!" 24. The Austin Powers Trilogy Austin Powers: International Man Of Mystery (1997) Austin Powers: The Spy Who Shagged Me (1999) Austin Powers in Goldmember (2002) Director Jay Roach Starring Mike Myers, Elizabeth Hurley, Michael York, Mimi Rogers, Robert Wagner, Seth Green, Mindy Sterling, Heather Graham, Rob Lowe, Verne Troyer, Beyonce, Michael Caine, Fred Savage After Wayne, but happily long before The Love Guru, there was Austin Powers and his wonderfully mediocre arch-nemesis, Dr Evil. Mike Myers dual performance may have paled from over-familiarity and a million pub mimics, but looked at with fresh eyes they're still genius. As the series wore on, however, it became crystal clear that it was Dr Evil who was the real star of the show, stealing most of the films along with his inspired pantheon of henchmen and hangers on (chief among them Scott Evil and Mini-Me; least among them Fat Bastard, an unfunny one-note effort). Last we heard, Myers was talking about a Dr Evil-focused fourth film; we can only hope. Weakest link? Goldmember, where the smuttiness finally battled the cleverness into submission. The combination of the admittedly ace and star-studded opening number (with Spielberg, Cruise, Paltrow and Spacey) and Michael Caine almost saved the day, but couldn't quite make it. Fun fact: Austin Powers' licence plates read SWINGER and SWINGER2. His dad Nigel, played by Michael Caine, got GR8SHAG on his Mini-Cooper. What to say... "Groovy, baby, yeah!" ...and what not to say. "Are we still quoting lines from Austin Powers? That doesn't feel old to you?" 23. The Mad Max Trilogy Mad Max (1979) Mad Max 2: The Road Warrior (1981) Mad Max Beyond Thunderdome (1985) Director George Miller, George Miller, George Miller & George Ogilvie Starring Mel Gibson, Steve Bisley, Joanne Samuel, Hugh Keays-Byrne, Tim Burns, Geoff Parry, Michael Preston, Bruce Spence, Vernon Wells, Tina Turner Born out of the same mix of Aussie can-do attitude, dangerous stunt work and tiny budgets that spawned the likes of Razorback, Roadgames and Long Weekend, Mad Max takes a stripped-down concept and a couple of souped-up motors and makes them into a legend. The sequel amps up the action and feels a little like a do-over (as is practically the law for sequels to mega low-budget originals), while number three goes all large-scale and Hollywood - but also gives us Tina Turner as a sort of super-violent ringmaster and the theme song We Don't Need Another Hero, so what it loses in isolation and nihilism, it gains in glamour. The fact that the trilogy also gave us Mel Gibson may account for its current position outside the top 20. Weakest link? Depends on your tastes, really. Beyond Thunderdome usually comes in for the most schtick, but that's more because it feels bigger and broader than the other two rather than down to a lack of quality. Fun fact: In the first film, Max himself was the only cast member to wear real leather. The rest had to make do with vinyl. What to say... "Be still, my dog of war. I understand your pain." ...and what not to say. "G'day, mate! Throw another shrimp on the barbie!" 22. The Infernal Affairs Trilogy Infernal Affairs (2002) Infernal Affairs II (2003) Infernal Affairs: End Inferno 3 (2003) Director Lau Wai-keung & Alan Mak Starring Tony Leung, Andy Lau, Anthony Wong, Eric Tsang, Kelly Chen, Sammi Cheng, Edison Chen, Shawn Yue, Carina Lau, Francis Ng, Leon Lai The first film has the greatest why-didn't-I-think-of-that plot ever: a police mole among the Triads and a Triad mole in the police force try to smoke one another out. But what makes it unique is the even-handed way that both characters are portrayed, and the compassion the film shows for the impossible situation in which each finds himself. The follow-ups, one a prequel and one a flashback-filled expansion on the original, expand on that theme but lack the simple elegance of the first film's structure. Weakest link? There's a little back-and-forth between the second and third films, but conventional wisdom has it that the second is just a smidge superior. Perhaps that's because the third film's tricksy time-jumping between past and present makes it overly complicated. Fun fact: The first film's psychiatrist is called Lee Sum Yee, which sounds very like the Cantonese for "your psychiatrist". What to say... "Not being a Buddhist, I'm worried I'm missing some of the theological subtleties." ...and what not to say. "I prefer The Departed. Can't stand subtitles." 21. Terminator 1-3 The Terminator (1985) Terminator 2: Judgment Day (1991) Terminator 3: Rise of the Machines (2003) Director James Cameron, James Cameron, Jonathan Mostow Starring Linda Hamilton, Arnold Schwarzenegger, Michael Biehn, Lance Henriksen, Edward Furlong, Robert Patrick, Joe Morton, Nick Stahl, Claire Danes, Kristanna Loken The first Terminator film changed the world far beyond cinema. Without it, we might never have known about the current Governor of California, for it was this film that broke Arnold Schwarzenegger and introduced us all to the Austrian Oak. It also gave us James Cameron, a man who's made by far the highest grossing film in the world - twice. And it was, y'know, actually a good film to boot. You can get into a lengthy pub debate over the merits of the stripped-down original versus its bombastic successor, with Arnie reprogrammed as a good guy and Robert Patrick the new Most Sinister Thing Ever, but T2 is inarguably one of the slickest, most effective action thrillers the world has ever seen. And the belated threequel, Rise of the Machines, may not quite stand on the same level, but it's a respectable attempt. Weakest link? That'd be Rise of the Machines, which is OK but further messes with the timeline, and really misses Linda Hamilton's steely presence. Fun fact: Arnold Schwarzenegger earned $21,429 per word in the second film, given his reported $15m salary and 700 words of dialogue. What to say... "Come with me if you want to live." ...and what not to say. "It's all horrendously paradoxical. I mean, if he's only born because he sends his own father back in time, he can't possibly change that future." 20. X-Men 1-3 X-Men (2000) X-Men 2 (2003) X-Men: The Last Stand (2006) Director Bryan Singer, Bryan Singer, Brett Ratner Starring Hugh Jackman, Halle Berry, Patrick Stewart, Famke Janssen, James Marsden, Ian McKellen, Ray Park, Rebecca Romjin, Anna Paquin, Alan Cumming, Brian Cox, Shawn Ashmore, Kelsey Grammer, Aaron Standord, Ellen Page Marvel's flagship superhero* team struck it lucky when Bryan Singer adopted them and proceeded to cast the perfect people for the roles in a first film that worked as a scene-setter, if rather skimping on the action. The second film, however, delivered both human drama and mutant mayhem in adamantium buckets, showing just what director and cast were capable of, and all looked rosy for the future. But then Singer went AWOL to hang out with Superman, the studio decided to introduce a couple of dozen new characters and it all went a bit wrong in the (still OK) third film. But at least we got to see them in one great film and two OK ones, right? *Strictly, mutants rather than superheroes - but let's not split hairs. Weakest link? That'd be The Last Stand, overloaded with characters and incoherent in its detail. While the Wolvie / Jean bit at the end is nearly perfect, the rest is a hot mess. Fun fact: Hugh Jackman's last big job prior to starting work as Wolverine was as Curly in the National Theatre's production of Oklahoma! Altogether now: oh what a beautiful morning. What to say... "Mutants are not the ones mankind should fear." ...and what not to say. "You know what happens when a toad gets struck by lightning?" 19. The Naked Gun Trilogy The Naked Gun: From The Files Of Police Squad! (1988) The Naked Gun 2 1/2 (1991) The Naked Gun 33 1/3 (1994) Director David Zucker, David Zucker, Peter Segal Starring Leslie Nielsen, George Kennedy, OJ Simpson, Priscilla Presley, Ricardo Montalban, Richard Griffiths, Robert Goulet, Fred Ward, Anna Nicole Smith Police Squad only ran for six episodes, but they were six episodes of fried gold and eventually, with the as-silly but less funny Police Academy series going strong at the box office, Leslie Nielsen's Frank Drebin got his shot at the big time. And thank goodness for that. The first film is a treasury of silliness, crammed with one-liners, absurd visual gags and defiantly dead-pan performances. But then, it did still have the full Airplane! team of Abrams, Zucker and Abrams aboard. The two sequels, while not as packed with goodness, still provide at least 5 of your 5 recommended helpless giggles of the day. And in the words of Frank Drebin, "I like my sex the way I play basketball, one on one with as little dribbling as possible." Well you didn't expect him to say something relevant, did you? Weakest link? The third entry, which still lands some zingers but feels more formulaic and less sharp than the previous two. Fun fact: Recently Priscilla Presley was interviewed on BBC Radio. Returning from a music break, the presenter said, "Nice beaver!" and she smoothly replied, "Thank you; I just had it stuffed" just like in the first movie. Made our day. What to say... "I promise you; whatever scum did this, not one man on this force will rest one minute until he's behind bars. Now, let's grab a bite to eat." ...and what not to say. "If the glove don't fit, you must acquit!" 18. The Vengeance Trilogy Sympathy For Mr. Vengeance (2002) Oldboy (2003) Lady Vengeance (2005) Director Park Chan-Wook Starring Song Kang-Ho, Shin Ha-kyun, Bae Doona, Choi Min-Sik, Yu Ji-tae, Kang Hye-Jeong, Lee Yeong-ae, Oh Kwang-Rok, Kim Byeong-ok Revenge is a dish best served cold, say the Klingons, but the Koreans might disagree. Park Chan-Wook's first film in this loose trilogy suggests that vengeance is a dish best not served at all, since it can lead to the death of everyone who gets involved in it. The second sees a rather more elaborate - and much longer-term - plan of revenge similarly backfire, with arguably even ickier consequences than the first. And the third, while boasting a sort-of happy ending, sees an uncomfortable amount of blood spilled along the way and makes it clear that this vengeance lark isn't easy. Any way you look at it, however, these cleverly plotted and twisty-turny thrillers are a worthy addition here, proving that Korean cinema's turning up some of the most interesting films in the world right now - and that it features a lot more octopus eating than the Europeans typically employ. Weakest link? Probably Lady Vengeance, which lacks the intricate plotting of the other two and spends more time focusing on red eyeshadow. Fun fact: Four octopuses were used to get Oldboy's famous eight-armed scene. Actor Chi Min-Sik is a Buddhist, and said a prayer for each one. What to say... "Laugh, and the world laughs with you; weep, and you weep alone." ...and what not to say. "Turn the other cheek, that's my motto!" 17. Scream 1-3 Scream (1996) Scream 2 (1997) Scream 3 (2000) Director Wes Craven Starring Neve Campbell, Courtney Cox-Arquette, David Arquette, Rose McGowan, Skeet Ulrich, Matthew Lillard, Jamie Kennedy, Sarah Michelle-Gellar, Jada Pinkett-Smith, Liev Schreiber, Timothy Olyphant, Jerry O'Connell, Patrick Dempsey, Lance Henriksen, Parker Posey, Patrick Warburton The slasher film was pretty much dead and buried in 1996. But Wes Craven, who'd spun a post-modern but relatively little-seen twist on it for New Nightmare two years before, managed to single-handedly bring it back to life with this witty deconstruction of the whole genre. So this time our unstoppable killer (who always comes back for one last scare just when you think he - or she - is dead) faces victims who know how to survive a horror movie, who don't always run upstairs and who frequently fight back. The first sequel riffed on the cliches of Part IIs, while the less-successful but still original third instalment got really meta, visiting a sequel movie within the movie. Oooh, our heads are spinning! Weakest link? Scream 3, which isn't as effective as satire and perhaps stretches the willingness to suspend disbelief just a little far. Fun fact: Much more blood was used in Scream (50 gallons) than Scream 2 (30 gallons) or Scream 3 (a measly 10). By that measure, the upcoming Scream 4 should be blood-free. What to say... "The reason that Scary Movie doesn't work is that it's a spoof of a satire, which is just silly." ...and what not to say. "I'll be right back." 16. The Spider-Man Trilogy Spider-Man (2002) Spider-Man 2 (2004) Spider-Man 3 (2007) Director Sam Raimi Starring Tobey Maguire, Kirsten Dunst, Rosemary Harris, James Franco, Cliff Robertson, Willem Dafoe, Alfred Molina, Thomas Haden-Church, Topher Grace, Bryce Dallas Howard, Bruce Campbell Blade and X-Men had hinted that these superhero movies might be going places, but it was Spider-Man that actually went there. But its huge box-office success was thoroughly earned, director Sam Raimi placing Peter Parker's character front and centre (and casting indie star Tobey Maguire rather than some he-man), with Spider-antics taking a secondary - but nonetheless effective place. The sequel, pitting Spidey against Alfred Molina's brilliant Doc Ock, was a further step up, and if the third one tried to cram in too much, at least it gave us Thomas Haden Church's bittersweet take on the Sandman. Why on Earth anyone thinks this series needs a reboot we'll never know, but these three are first among superheroes for a reason. Weakest link? Spider-Man 3, where a tussle over bad guys between director and studio led to a film overloaded with evildoers and short on focus. Fun fact: In the first film, Norman Osbourne's presentation to the board opens with the same dialogue as a similar board meeting in The Hudsucker Proxy, which Raimi was a co-writer on. What to say... "With great power comes great responsibility." ...and what not to say. "I want Venom! Narrative coherence be damned!" 15. The Star Wars Prequels Star Wars: Episode I - The Phantom Menace (1999) Star Wars: Episode II - Attack of the Clones (2002) Star Wars: Episode III - Revenge of the Sith (2005) Director George Lucas Starring Ewan McGregor, Liam Neeson, Hayden Christensen, Natalie Portman, Anthony Daniels, Kenny Baker, Jake Lloyd, Ian McDiarmid, Samuel L. Jackson, Temuera Morrison, Jimmy Smits, Ahmed Best, Christopher Lee While each of them has come in for schtick from the fans (we're looking at you, Spaced), the fact that the Star Wars prequels made this list, and placed this high, suggests that there are those of you out there who love them despite their flaws. After all, each has (at least one) stand-out action sequence; each gave us full-on Jedis battling bad guys after twenty years of waiting, and each gave us the chance to revisit the Star Wars universe, which was a treat in itself. So let's ignore Jar-Jar, and focus on the Duel of the Fates, and the sight of Yoda drawing his lightsaber with the power of the Force, and Obi-Wan standing on the higher ground. If you just look at those bits, these are just as good as the originals. Weakest link? Hmm. The Phantom Menace has the biggest helping of Jar-Jar, but also has that ace lightsaber fight at the end. Attack of the Clones is the most often derided, but has a bit where Yoda gets his 'saber out, and that has to get it bonus points. But while Phantom was the biggest disappointment relative to expectations, Clones still probably edges it overall. Fun fact: If you look closely during the opening sequence when the second Separatist ship is destroyed, you might spot the kitchen sink that ILM threw into their digital footage. What to say... "May the Force be with us all." ...and what not to say. "You so do not understand! You weren't there at the beginning! You don't know how good it was!" 14. Die Hard 1-3 Die Hard (1988) Die Hard 2 (1990) Die Hard: With A Vengeance (1995) Director John McTiernan, Renny Harlin, John McTiernan Starring Bruce Willis, Bonnie Bedalia, Alan Rickman, Reginald VelJohnson, William Atherton, William Sadler, Samuel L. Jackson, Jeremy Irons One man. One building. A handful of terrorists. There's no way Die Hard should be this good. And yet it's a nearly perfect action movie, combining one of history's best underdog heroes with a blast of great action and one of the all-time snarkiest villains. The second one ups the stakes, giving us a crowded airport - and the skies above it - packed with hostages and ready for disaster. And the third steps it up again, to an entire city, but adds in the least annoying sidekick in history (well he is Samuel L. Jackson) and plays a nice twist for good measure. Just think: before this movie Bruce Willis was best known as the romantic lead in Moonlighting. What a difference a white vest and no shoes makes, eh? Weakest link? It's generally considered to be the second film, set at Washington's Dulles airport just before Christmas and featuring a slightly weaker villain than the trilogy's book-ends. This is all, of course, assuming you don't count Die Hard 4.0 - but we don't because that sits outside the definition of a trilogy and would just get messy. Fun fact: Die Hard: With A Vengeance was originally called "Simon Says" and was at one point a possible fourth Lethal Weapon movie. What to say... "Now I have a machine gun. Ho ho ho." ...and what not to say. "Come out to the coast, we'll get together, have a few laughs..." 13. Pirates of the Caribbean 1-3 Pirates of the Caribbean: The Curse of the Black Pearl (2003) Pirates of the Caribbean: Dead Man's Chest (2006) Pirates of the Caribbean: At World's End (2007) Director Gore Verbinski Starring Orlando Bloom, Keira Knightley, Johnny Depp, Geoffrey Rush, Mackenzie Crook, Jonathan Pryce, Jack Davenport, Lee Aranberg, Naomie Harris, Kevin McNally, Tom Hollander, Stellan Skarsgard, Bill Nighy When we talked to Pirates screenwriter Terry Rossio last year, he was rather irate that the philosophy and plot twists of the Disney series haven't garnered the sort of academic attention that, say, The Matrix did. And it's certainly true that these intricately structured adventures resemble operatic farces as much as they do traditional summer blockbusters. But in the end, the main reason we love them is because of someone originally conceived as a supporting character, the barmy, brilliant Captain Jack Sparrow. "You're the worst pirate I've ever heard of!"; "Ah, but you have heard of me!" Proof that a single great character can elevate a film, and indeed a series, to greatness. Weakest link? At World's End, which twists and turns and meanders far too often on its way to the conclusion, with every character betraying every other on their path. Fun fact: While the series is based on one Disneyland ride, there's a reference to another in Dead Man's Chest: on their way to Tia Dalma's house, the crew sail past a shack identical to one in Disney World's Jungle Cruise. What to say... "Captain Jack is very much a hero in the Figaro mould, the sort of trickster servant who crops up regularly in folk legend." ...and what not to say. "I've always preferred Space Mountain." 12. Alien / Aliens / Alien3 Alien (1979) Aliens (1986) Alien3 (1992) Director Ridley Scott, James Cameron, David Fincher Starring Sigourney Weaver, Tom Skerrit, John Hurt, Ian Holm, Lance Henriksen, Michael Biehn, Carrie Henn, Charles Dance, Charles S. Dutton, Paul McGann Again, arguably not strictly a trilogy, what's interesting about the first three Alien films is how distinct they are in tone. Ridley Scott's shipbound film is essentially a haunted house movie in space, a claustrophobic, psychological horror. James Cameron's follow-up turns the tone to balls-to-the-wall action, establishing a tough-as-nails cadre of Marines and then giving them an enemy far beyond their capabilities. And Fincher's film (well, he shot it; he didn't edit it and disowned the result) sets the Ridley vs. xenomorph story in a prison and combines the scale of Aliens' kills with the sweaty, enclosed atmosphere of Alien. Weakest link? No question: Alien 3, which saw directors come and go through a revolving door and the shooting director, David Fincher, walk out before editing began. Fun fact: Apparently Michael Biehn was paid more for the use of his image early in Alien 3 than he was for his role in Aliens. What to say... "Get away from her you bitch!" ...and what not to say. "I prefer Alien Vs. Predator myself." 11. Three Colours Trilogy Three Colours Blue (1993) Three Colours White (1994) Three Colours Red (1994) Director Krzysztof Kieslowski Starring Juliette Binoche, Benoit Regent, Emmanuelle Riva, Julie Delpy, Zbigniew Zamachowski Irene Jacob, Jean-Louis Trintignant Krzysztof Kieslowski's trilogy based on the French tricolor (thanks to French financing) was intellectually challenging, emotionally satisfying and cinematically ambitious; we haven't seen its like since. Blue (the best) stars Juliette Binoche as a bereaved wife and follows her attempts to liberate herself from her anguish. White follows the comic adventures of a divorced husband (Zamachowski) trying to get even with his ruthless wife (Julie Delpy). Red returns to the seriousness of Blue with the touching friendship between a retired Judge (Trintignant) and a model (Irene Jacob). Caracters criss-cross the films, which are united by stunning sumptuous filmmaking (all controlled colour palette and virtuoso camera moves), Zbigniew Preisner's score and that rare thing: three great roles for supremely talented women. Weakest link? While still compelling, White is the slightest of the bunch, lacking the gravitas of the two heavyweight bookends that surround it. Fun fact: For a close-up of Juliette Binoche allowing a sugar cube to soak up her coffee, Kieslowski demanded the shot last five seconds so he had his assistant director test multiple brands of sugar cubes (which took anywhere from 3 to 11 seconds) until he found the right one. What to say... "Juliette Binoche, Julie Delpy, Irene Jacob are symbolic of the Tricolor values of liberty, egality and fraternity." ...and what not to say. "Juliette Binoche, Julie Delpy, Irene Jacob - phwoar!" 10. The Evil Dead Trilogy The Evil Dead (1981) Evil Dead II (1987) Evil Dead III: Army of Darkness (1992) Director Sam Raimi Starring Bruce Campbell, Ellen Sandweiss, Betsy Baker, Hal Delrich, Sarah Berry, Embeth Davidtz, Marcus Gilbert. Made for next to nothing, the first Evil Dead hit our screens with such bloody bravado it was soon hailed as the ultimate in Video Nasties, all red-dyed corn syrup and seriously hammy acting, making up for what it lacked in production values with out-and-out gruelling horror. It scared the hell out of people, and they wanted more. Six years later and Raimi, Campbell and Tapert returned with more of a budget and more buckets of blood, creating what has now come to be regarded as a zombie-movie masterpiece and one of the most quotable films in horror history - nay, in history. And to complete the set, Raimi had long wanted Ash to get medieval on those deadites' asses and in 1993 he got his way, completing the finest horror trilogy ever created with a bigger, barmier finale. Groovy. Weakest link? Essentially an odd Ray Harryhausen tribute, Army Of Darkness lacks the comedy / horror one-two punch of the first two, leaving it still enjoyable but by no means the finest of the three. Fun fact: Bruce Campbell's Ash loses his hand in Evil Dead II, attaching a chainsaw to the stump. When his hand is trapped in a can, there are books on top of it, including "A Farewell To Arms." Badda boom! What to say... "I think you'll find that they aren't zombies, but 'deadites'. There is a difference, you know." ...and what not to say. "What's with all this blood? Is this all really necessary?" 9. The Matrix Trilogy The Matrix (1999) The Matrix Reloaded (2003) The Matrix Revolutions (2003) Director The Wachowskis Starring Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne, Hugo Weaving, Joe Pantoliano, Gloria Foster, Monica Bellucci, Harold Perrineau, Jada Pinkett Smith, Gina Torres, Lambert Wilson, Helmut Bakaitis, Mary Alice The first Matrix film was one of those films, like Star Wars, that seems to change cinema overnight. As Keanu Reeves set out to save humanity from the machines, it spawned a million imitators, a thousand parodies and almost no equals. The sequels delved deep into philosophical themes, and while they're rarely considered the equal of the first instalment, there's no question that the Wachowskis swung for the fences - both in terms of action and theme. The second film's freeway chase scene, and the third film's attack on Zion, remain benchmarks for big action, and whether you like or loathe the Architect or the ending, the scale of the undertaking is still impressive. Or as the Architect would say, concordantly the eventuality of the enterprise is inexorably well ambitious. Weakest link? Opinion varies between the two sequels, but Reloaded is generally considered the weaker of the two. It's probably down to the much-derided rave in Zion. Fun fact: That bench the Oracle is sitting on at the end of the third film? It has a plaque that reads "In memory of Thomas Anderson". What to say... "Of course, philosophically the sequels are entirely successful." ...and what not to say. "Hey! They ripped off the bullet time bit in Deuce Bigalow: Male Gigolo!" 8. The Dollars Trilogy A Fistful of Dollars (1964) For A Few Dollars More (1965) The Good, The Bad And The Ugly (1966) Director Sergio Leone Starring Clint Eastwood, Marianne Koch, Jose Calvo, Klaus Kinski, Eli Wallach, Lee Van Cleef, Gian Maria Volonte, Luigi Pistilli, Joseph Egger It's odd to think that Leone never envisioned The Dollars Trilogy as a unified whole, despite Clint's roles, known at times as 'Blondie', 'Joe', and 'The Man With No Name', having the same mannerisms and the same clothes throughout. But judging by the three films' lasting effect on cinema, they belong together. They gave us, after all, the Spaghetti Western genre, Clint's introduction to the Hollywood A-list, and, perhaps most strikingly of all, Ennio Morricone's flawless music. Clint's gruff attitude, look and tone, with Leone's close-ups, set pieces and threadbare, cheroot-chewing dialogue, together create some of the coolest films ever made, cleverly turning the moralistic Western world of John Wayne on its head and giving us a whole new way of looking at the gunslinging genre. Weakest link? For A Few Dollars More is the lesser of the three, lacking the tight plotting of the first and third (Fistful helped somewhat by ripping off Yojimbo). But it remains an amazing watch, blessed with unforgettable supporting talent in the form of Van Cleef and Klaus Kinski. Fun fact: Sergio Leone couldn't speak much English, and Eli Wallach barely any Italian, so throughout the production of The Good, The Bad And The Ugly, the two spoke in French. What to say... "Though the Dollars trilogy is excellent, I'm more of a Once Upon A Time In The West kind of guy." ...and what not to say. "Are these the film adaptations of Rawhide?" 7. Indiana Jones 1-3 Raiders of the Lost Ark (1981) Indiana Jones and the Temple of Doom (1984) Indiana Jones and the Last Crusade (1989) Director Steven Spielberg Starring Harrison Ford, Denholm Elliot, Karen Allen, Sean Connery, Paul Freeman, Kate Capshaw, Jonathan Ke Quan, Amrish Puri, Alison Doody, Julian Glover, River Phoenix We suspect this would be higher up the list if purist readers hadn't dismissed it following the release of a fourth film recently. After all, Raiders is pretty much a perfect film in every way; Temple of Doom is an impressively dark film and Last Crusade is (arguably) the funniest of the three and had Sean Connery and River Phoenix as a bonus. Indiana Jones himself, failing in his endeavours far more often than he succeeds, is a hero we can believe in - and ladies, he's smart too: check out that tweed and bow-tie combo he wears in class. Hubba! Weakest link? For years, everyone hated Temple of Doom. Nowadays, you occasionally get people who'll defend that but attack Last Crusade (as too cute) instead. Either way, you're kinda looking for trouble. 6. The Bourne Trilogy The Bourne Identity (2002) The Bourne Supremacy (2004) The Bourne Ultimatum (2007) Director Doug Liman, Paul Greengrass, Paul Greengrass Starring Matt Damon, Franka Potente, Julia Stiles, Brian Cox, Joan Allen, David Straithairn, Albert Finney, Chris Cooper, Karl Urban, Clive Owen, Edgar Ramirez, Paddy Considine, Scott Glenn Back in 2002, Matt Damon wasn't an action star. Hard to believe, right? And yet, his last starring role in a major movie was All The Pretty Horses, and there seemed a very real possibility that Doug Liman's Bourne Identity could fizzle the way that had. But here we are, in a world where Damon broke the critics and box office's neck with his bare hands, stabbing them with a pen and beating them to death with a book. Astonishingly well-shot action, real-world stakes and a withering contempt for Bond's slickness and womanising combine to give the Noughties an action hero to be proud of. Weakest link? Unusually, the first one is generally considered the weakest - although only in comparison to Paul Greengrass's frantic, frenetic follow-ups. Fun fact: When Bourne looks in the mirror and says something in foreign at the beginning of The Bourne Identity, he's speaking Dutch. What to say... "But everyone pretends to be Bourne when they walk through Waterloo at rush hour, right?" ...and what not to say. "Oh, it's just like Bond really." 5. The Godfather Trilogy The Godfather (1972) The Godfather: Part II (1974) The Godfather: Part III (1990) Director Francis Ford Coppola Starring Al Pacino, Marlon Brando, Robert de Niro, Diane Keaton, James Caan, Robert Duvall, Talia Shire, John Cazale, Andy Garcia, Sofia Coppola, Eli Wallach, Joe Mantegna Francis Ford Coppola's epic adaptation of Mario Puzo's equally epic book was a perfect marriage of director and subject. Coming from a large Italian-American family himself, Coppola understood the novel's themes about family, immigration and the American dream on a profound level, and just had to add a soupcon of crime and assassination to bring the mix to boil. Part II expertly layered past and present in a brilliant expansion and clarification of the world, while Part III, whatever its faults, completes the arc for Michael Corleone (Al Pacino) as he faces the consequences of the choices he's made and watches the next generation grow up. Weakest link? Altogether now! The Godfather: Part III! In retrospect everyone agrees that Sofia Coppola is a better director than Corleone offspring, and while the third film has its defenders, no one would seriously claim it's up to the standard of the previous two. Fun fact: Originally Winona Ryder was set to play Sofia Coppola's role - but backed out to appear in Edward Scissorhands. What to say... "Of course, it's such a profound satire on the American dream." ...and what not to say. "Anyone who doesn't like it will sleep with the fishes." 4. Toy Story Trilogy Toy Story (1995) Toy Story 2 (1999) Toy Story 3 (2010) Director John Lasster, John Lasseter, Lee Unkrich Starring Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, Wallace Shawn, John Ratzenberger, Estelle Harris, Blake Clark The release of the first Toy Story film was anticipated chiefly from a technological point of view, as the first entirely computer-animated film ever made. It was only as word from screenings leaked out that it became clear that this was also a storytelling milestone, a blast of fresh air to a moribund animation industry and one that took the world by storm. Incredibly, the sequel lived up to that standard, with Empire calling it an "upgrade" to the original - and even more improbably, the third instalment, fought over and delayed for years, became another triumph. Flawless characterisation, spot-on voice work and the relentless quest for perfection in both story and look may now just be SOP for Pixar, but it's worth remembering how special that is. Weakest link? You could try to pick holes in them, but honestly, why bother? They're consistently excellent. Fun fact: Lee Unkrich, who directed the third film, was an editor on the first and a co-director on the second. What to say... "To infinity, and beyond!" ...and what not to say. "I think I'll just throw all these old toys in the dump." 3. Back to the Future Trilogy Back to the Future (1985) Back to the Future Part II (1989) Back to the Future Part III (1990) Director Robert Zemeckis Starring Michael J. Fox, Christopher Lloyd, Crispin Glover, Lea Thompson, Thomas F. Wilson, Claudia Wells, Elizabeth Shue, Mary Steenbergen Show us a person who doesn't like Back to the Future and we'll show you a person who is tired of life. The Zemeckis-directed, Spielberg-produced time-travelling tale of Marty McFly races along at, oooh, around 88mph, fuelled by plutonium and Michael J. Fox's career-making, insanely charming performance as an average teen thrust 30 years back in time. Part II was a twisty, turny paradox-spinning puzzler, followed by a gorgeous mix of old West and space age in Part III. Consistently fun, funny and about as good an adventure romp as you could wish for, there's a reason that this is still wildly popular - and getting a re-release - 25 years on. Weakest link? Funnily enough, conventional wisdom at the time tended to rate the second film lowest (as reflected by Empire's reviews) but nowadays you'll find more people slagging off the third. It all smacks of looking a gift horse in the mouth to us though. Fun fact: Once upon a time, the time machine was going to be a fridge. Spielberg and Zemeckis nixed the idea because they were worried about kids copying the movie and getting trapped in old fridges. What to say... "1.21 gigawatts?!" ...and what not to say. "There's simply no scientific basis for thinking that time travel like this is possible." 2. The Original Star Wars Trilogy Star Wars: Episode IV - A New Hope (1977) Star Wars: Episode V - The Empire Strikes Back (1980) Star Wars: Episode VI - Return of the Jedi (1983) Director George Lucas, Irvin Kershner, Richard Marquand Starring Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness, Peter Cushing, Anthony Daniels, Peter Mayhew, Kenny Baker, David Prowse, James Earl Jones, Billy Dee Williams, Jeremy Bulloch George Lucas' opening space-opera salvo changed the filmmaking landscape, energised a generation and set an impossible standard for any sequel. Irvin Kershner's sequel, with Lucas overseeing, delivered something even bigger and better, and also gave us perhaps the most famous twist in cinema history. And the third, while it may have cutesy teddy bears taking down an Empire, also has a series of fantastic action scenes, from the fight with the Rancor to the lightsaber battle on the Death Star - itself under attack from outside. It's a triple-whammy that has spawned imitators, prequels, endless other media permutations and even a religion - and how many trilogies can claim that? Weakest link? Most of the fanboys would have you believe it's Jedi, but that's got some of the trilogy's best bits in it and - whatever they claim - no one hated the Ewoks even when they were a kid. Fun fact: Pop quiz hotshot: who has the last line in New Hope? Answer: Chewbacca. What to say... "Did you know that in some Spanish subtitled releases, R2-D2 name appears subtitled as "Arturito" or "little Arthur" in Spanish, since the pronunciation is similar?" ...and what not to say. "Dude, she's your sister! Yuck!" 1. The Lord of the Rings The Lord of the Rings: The Fellowship of the Ring (2001) The Lord of the Rings: The Two Towers (2002) The Lord of the Rings: The Return of the King (2003) Director Peter Jackson Starring Elijah Wood, Viggo Mortensen, Ian McKellen, Cate Blanchett, Sean Astin, Sean Bean, John Rhys-Davies, Christopher Lee, Andy Serkis, Orlando Bloom, Dominic Monahan, Billy Boyd, Liv Tyler, Hugo Weaving, Miranda Otto, Karl Urban, David Wenham, Bernard Hill, Ian Holm, Brad Dourif, John Noble Peter Jackson's stunning trilogy, filmed back-to-back and released in the form of Christmas presents for three consecutive years, just pipped Star Wars to the top of the poll. Why? Well, there's the painstaking attention to detail (characters even had their coats-of-arms emblazoned on the never-seen linings of their costumes for maximum authenticity), New Zealand scenery so breathtaking you could feel the wind on your face, the pitch-perfect casting and the huge-scale effects. In the end, however, it all comes down to friendship, and fellowship, and a struggle against the odds (or, if you will, orcs). It's the fact that Peter Jackson was able to keep his eye on the emotion even while the spectacle swirled around him that makes this such a stunner. Weakest link? There really isn't one - although a few people gripe about Return of the King's extended endings. Fun fact: While Return of the King is tied with Titanic and Ben-Hur for the Most Oscars For A Single Film record (that'd be 11), it's notable for winning all the Academy Awards it was nominated for, which neither of the others managed to do. What to say... "A spectacular achievement! I hope Jackson makes The Hobbit."
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The stately manor is filled with one-of-a-kind rooms, a beguiling ghost, spa, soaking pool, theater, games and restaurants serving handcrafted goodness. An escape into the extraordinary Walking guide This former Masonic & Eastern Star property 25 miles west of Portland is peppered with unique rooms, restaurants, bars and a spa. Free live music and events fill the calendar, and summertime brings musicians from across the country to Concerts in the Grove. From the Ironwork Grill to Pat’s Corner and the small bars tucked between, you’re sure to find a tasty bite and heartwarming quaff in a cozy spot, indoors or out. Our beer, wine, cider, spirits and coffee are handcrafted at McMenamins, and a vegetable garden and estate chickens help supply the Ironwork Grill’s kitchen. Recharge in one of the 90 guestrooms or find your medicine in the Doctor's Office bar, where pool tables beckon. Late night revelers may meet the Lavender Lady, whose spirit is said to drift through the halls. The Lady and historic figures are commemorated with historical photographs and fanciful art woven through the rooms and halls, from baseboard to ceiling. Rejuvenate in the soaking pool nestled among outdoor greenery, then savor a massage, manicure or other restorative treatment at Ruby's Spa. 15 minutes away, guests can discover Hagg Lake for fishing, boats rentals, and trails for hiking and biking, as well as the thrills of a zipline park adjacent to the lake. More fishing and hiking spots are found in the Tillamook State Forest. And Grand Lodge is just an hour’s drive to the famed Oregon Coast. Nearby, the vineyards and winery tasting rooms of Oregon Wine Country beckon, and SakéOne, the leading brewer of craft saké in the U.S., is just down the road. Check-in is at 3pm; check-out is at 11am The 90 guestrooms at the Grand Lodge feature whimsical artwork, original porcelain sinks and air conditioning. Guests may choose from rooms with private baths, or shared common private bathrooms down the hall. For ADA rooms, please contact the hotel directly. Foundation Guestrooms reflect musicians and others who have influenced McMenamins in some way; there's the painting of Bob McMenamin (the father of Founders Mike and Brian) and his namesake "Bob's Bar" featuring live music until 10pm, adjacent to the rooms, as well as a Bob Marley room. This wing is part of the building's foundation as well. The Main Floor Guestrooms benefitted from a recent upgrade, giving the majority of rooms their own attached bathrooms. Our newest addition, the Third Floor Guestrooms, each have private bathrooms, and are named after a literary passage or book, which inspired the artwork as well. It’s a floor full of mystery and surprises around every bend. Enjoy the hand-painted headboards inspired by writers, and a Grateful Dead-inspired light bulb display. Hearing a suspicious knocking in the walls? Not to worry – it’s not a ghost or some noisy neighbors. It’s just our historic and efficient radiator warming up to keep things cozy. Midweek Retreat at Grand Lodge Schedule meetings, conferences and retreats Monday through Thursday, and enjoy a complimentary welcome reception and 15% discount on 2-night stays. Audio/visual equipment is included, and you get to select the specialty menu for your event. Call (503) 992-9530 to book! Check-in is at 3pm; check-out is at 11am Same day reservations must be made by calling the hotel. Loyal Order of the Slumbering Bed Heads Bed Head Login New Name, Same Program The Loyal Order of the Slumbering Bed Heads was once known as our Frequent Guest Program. Stay at our historic hotels and earn free nights! Questions about your existing points? See our FAQs. Please note: We are unable to issue points for reservations made through Expedia and Booking.com. For best results, book directly through mcmenamins.com. Limit one room per guest per night. How does it work? First, create or update your profile in our online reservations systemand follow the prompts to join the Bed Head Program; you'll receive monthly email reminders about the program! Keep an eye out for upcoming events, seasonal promotions and even occasional specials just for Bed Heads. Stay with us! Points are automatically rewarded 24 hours after check out - you'll receive 100 points per night in rooms with a common bath, 150 points per night in rooms with a private bath and 50 points per night in Edgefield’s hostel rooms. Your accrued points can be viewed at any time in your online profile. Please note: points accrued during your stay are not available for immediate redemption. When you've accrued 900 points or more, search results on our online system will include a "900 point" rate for rooms (based on availability). Choose this rate to redeem your points. Add-ons, like our Romance Package, will still be available at regular prices. Rules This offer is for individual bookings only; the offer does not apply to contracted groups or conferences. All of your qualifying nights must be booked under the same guest profile for points to accrue correctly. Only 1 room per night is accruable. You must be a member of the Loyal Order of the Slumbering Bed Heads to accrue points and redeem your complimentary stays. Qualifying nights begin the day you sign up! Sorry, our program is not retroactive. The Grand Suite at Grand Lodge, Family Suite and Parrish House at Old St. Francis, and Family Rooms at Edgefield are not available for redemption. Based on availability; blackout dates may apply. Reward nights and free or sponsored promotional stays are excluded from earning points in the program. No credit for "no-shows” or cancellations within cancellation policy. Redemption must be booked prior to arrival and points cannot be redeemed upon check out. Any questions can be sent to loyalty@mcmenamins.com. Please note: All rules are subject to change. Important Information about Bed Head Points In order to accumulate points, it is important that you use the same username and password every time you make a reservation. When guests create multiple profiles, points get scattered across them, making them difficult to use for free stays. Need help aligning multiple user profiles or resetting your password? Contact us at loyalty@mcmenamins.com so we can merge your accounts into one or help with passwords. Lodging Policies Policies: Room and package rates are the same for single or double occupancy. Add $25 per person after double occupancy. Children age six and under stay free Children age six and under stay free. A credit card for authorization purposes and ID are required at check-in. Debit cards are accepted, however McMenamins is not responsible for overdrafts caused by holds on your account. Add state, county and/or city lodging tax to all room rates and overnight packages. Cancellations made less than 48 hours before arrival time are subject to penalty. All overnight packages are subject to availability. For ADA rooms, please contact the hotel directly. Additional pet fee per pet, per day. Please read our Pet Policy page. Rates, including package rates, are subject to change and black out dates may apply. Stay with us often? Join the Loyal Order of the Slumbering Bed Heads and earn a night on us. Surrounding Attractions After you've explored the grounds, hung out in the soaking pool, gotten a treatment at Ruby's Spa and more, you might want to check out the surrounding area! Here are a few ideas... Local Wineries If you only have time for one attraction, this is it - don't miss Washington County's vineyards. While our neighbor to the south (the esteemed Willamette Valley) may be more well-known for its wineries, our Washington County area also hosts a multitude of wonderful vineyards, all within 10 miles of the hotel. Take a guided tour or just drive around by yourselves for the day. Outdoor Recreation Tap into your inner adventurer and climb and zipline your way through the trees at Tree to Tree Aerial Adventure Park. Five miles outside of town, enjoy the great outdoors at Henry Hagg Lake. Soak up the sunshine on water skis or boats. If it's not warm enough for sunbathing, the lake also offers great bike trails. The Tillamook State Forest is within half an hour's drive and is a haven for outdoor enthusiasts, with miles of trails for all levels of hikers and easy access to several rivers and streams for fishing or swimming. The Fernhill Wetlands is a local sanctuary for waterfowl and birdwatchers alike. For golfers, the area surrounding Forest Grove offers up several choices to practice a quick nine holes or go the whole eighteen. Shopping Downtown Forest Grove hosts many antique dealers, boutiques and other small shops. Pick up a souvenir to remind you of your trip. The Streets of Tanasbourne shopping mall is a short drive away and includes REI, Banana Republic, Macy's and more. And for more ideas, check out the Washington County Visitor Association website. See what's going on while you're here... Filter By Type Friday, August 16 6:30pm-8:30pm All ages welcome at Pat's Corner Friday, August 16 7pm to 10 pm All ages welcome at Garage Door Saturday, August 17 7pm to 10pm All ages welcome at Garage Door Wednesday, August 21 6pm doors, 7:15pm show All ages welcome at Grand Lodge Concerts in the Grove Thursday, August 22 6:30pm-8:30pm All ages welcome at Pat's Corner Thursday, August 22 7pm to 10pm All ages welcome at Garage Door Friday, August 23 5 pm doors, 6 pm show All ages welcome at Grand Lodge Concerts in the Grove Friday, August 23 6:30pm-8:30pm All ages welcome at Pat's Corner Friday, August 23 7pm to 10pm All ages welcome at Garage Door Saturday, August 24 7pm to 10pm All ages welcome at Garage Door Wednesday, August 28 6:30pm-8:30pm All ages welcome at Pat's Corner Thursday, August 29 6:30pm-8:30pm All ages welcome at Pat's Corner Thursday, August 29 7pm to 10pm All ages welcome at Garage Door Friday, August 30 6:30pm-8:30pm All ages welcome at Pat's Corner Friday, August 30 7pm to 10pm All ages welcome at Garage Door Saturday, August 31 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove Saturday, August 31 7pm to 10pm All ages welcome at Garage Door Wednesday, September 4 6:30pm-8:30pm All ages welcome at Pat's Corner Thursday, September 5 6:30pm-8:30pm All ages welcome at Pat's Corner Thursday, September 5 7pm to 10 pm All ages welcome at Garage Door Friday, September 6 6:30pm-8:30pm All ages welcome at Pat's Corner Friday, September 6 7pm to 10pm All ages welcome at Garage Door Saturday, September 7 7pm to 10pm All ages welcome at Garage Door Sunday, September 8 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove McMenamins, Friends of Historic Forest Grove, and SakéOne present SakéOne: The History of Oregon’s First Saké Brewery Presented by Jack Lien History Pub Wednesday, September 11 6pm doors, 7pm program All ages welcome 21+ to sample at Grand Lodge Theater Thursday, September 12 7pm to 10 pm All ages welcome at Garage Door Friday, September 13 7pm to 10pm All ages welcome at Garage Door Saturday, September 14 7pm to 10 pm All ages welcome at Garage Door Tuesday, September 17 All Day 21+ to Drink at All Locations Thursday, September 19 7pm to 10pm All ages welcome at Garage Door Friday, September 20 7pm to 10 pm All ages welcome at Garage Door Saturday, September 21 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove Saturday, September 21 7pm to 10pm All ages welcome at Garage Door Sunday, September 22 All day All ages welcome at Grand Lodge Thursday, September 26 7pm to 10pm All ages welcome at Garage Door Friday, September 27 7pm to 10pm All ages welcome at Garage Door Saturday, September 28 4pm doors, 5pm show All ages welcome at Grand Lodge Saturday, September 28 7pm to 10pm All ages welcome at Garage Door Saturday, October 5 All day All ages welcome at Grand Lodge Friday, October 11 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove Saturday, October 12 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove Sunday, October 13 5 pm doors, 6:30 pm show All ages welcome at Grand Lodge Concerts in the Grove Tuesday, November 19 November 19-25 All ages welcome 21+ to drink at All Locations Friday, June 13 5pm doors, 6:30pm show All ages welcome at Grand Lodge Concerts in the Grove Surrounding Attractions After you've explored the grounds, hung out in the soaking pool, gotten a treatment at Ruby's Spa and more, you might want to check out the surrounding area! Here are a few ideas... Local Wineries If you only have time for one attraction, this is it - don't miss Washington County's vineyards. While our neighbor to the south (the esteemed Willamette Valley) may be more well-known for its wineries, our Washington County area also hosts a multitude of wonderful vineyards, all within 10 miles of the hotel. Take a guided tour or just drive around by yourselves for the day. Outdoor Recreation Tap into your inner adventurer and climb and zipline your way through the trees at Tree to Tree Aerial Adventure Park. Five miles outside of town, enjoy the great outdoors at Henry Hagg Lake. Soak up the sunshine on water skis or boats. If it's not warm enough for sunbathing, the lake also offers great bike trails. The Tillamook State Forest is within half an hour's drive and is a haven for outdoor enthusiasts, with miles of trails for all levels of hikers and easy access to several rivers and streams for fishing or swimming. The Fernhill Wetlands is a local sanctuary for waterfowl and birdwatchers alike. For golfers, the area surrounding Forest Grove offers up several choices to practice a quick nine holes or go the whole eighteen. Shopping Downtown Forest Grove hosts many antique dealers, boutiques and other small shops. Pick up a souvenir to remind you of your trip. The Streets of Tanasbourne shopping mall is a short drive away and includes REI, Banana Republic, Macy's and more. And for more ideas, check out the Washington County Visitor Association website. Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment – works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now! The Big Green Topiary Cow The Bird Whistler The Big Eye Giant Our Lady of Guadalupe Candle Three Japanese Students Orphans Sweep Up the Paint Flakes The Tower Ruby Wades Into the Swamp Saxophones Flood the Lodge Walker Brothers Just Kids Tamalpais Walking by Gary Snyder/Tom Killion Paris Journal – Janet Flanner H is for Hawk – Helen Macdonald History 1917 After 20 years of planning and fundraising, designs are initiated at Forest Grove for a Masonic and Eastern Star Home for the State of Oregon "for the aged and infirm, and the poor and distressed worthy Master Masons, their widows and orphans . . ." 1920 The first contract for construction was let on May 2, and the corner stone was laid June 16. 1922 The main lodge's central area and east wing are completed on January 1. The first resident, Brother Henry Mounts, moves in on February 24. The dedication of the Home is held on June 14. 1926-27 The smaller building, called the "Children's Cottage," is completed in November 1926. Intended to house orphans of Masons, the Cottage's capacity is 32 children. 1927-28 It is determined that the orphanage should be closed because the relations between the elderly and the children are less than harmonious. Children start relocating to outside families. 1933-34 The salaries of Home employees are slashed 15 percent. 1938 New dairy barn built to save money on the cost of dairy products. 1957 Farm and dairy is discontinued in view of financial deficits. 1962 The Columbus Day Storm causes considerable damage: most of the Cottage roof is torn off, the dormer roof over the main lodge porch is damaged and twenty trees are uprooted. The power is knocked out and remains off for several hours, but the Home's auxiliary plant is in action within ten minutes of the power outage. 1970 The offices of the Oregon Grand Lodge are relocated to the former Children's Cottage. 1988-89 The Masons build the Jennings-McCall Center, a 72-unit elder-care apartment complex just north of the Masonic Home. 1999 The Masons build Jennings-McCall II and a new Grand Lodge office and meeting facility with the intent of moving out of the original Masonic Home and Children's Cottage. McMenamins agrees to become the new "custodian" of the great old property. Renovation begins that fall. March 1, 2000 The property reopens as McMenamins Grand Lodge. Fermentation Chamber In the depths of the Grand Lodge, we’re transforming fresh vegetables and herbs to concoct new flavors in old favorites with small-batch sauerkraut, giardiniera, curtido, vinegars and shrubs – and these tangy delights are being woven into entrees and cocktails served at Grand Lodge restaurants. You can also find our shrubs and other products bottled to go in select McMenamins hotel gift shops. Check Grand Lodge menus for the latest or ask your bartender for a cocktail crafted with our seasonally featured shrub (a drinking vinegar with just the right amounts of fruit, sugar and vinegar). Hold your Private Event at Grand Lodge Weddings Meetings Social Events An event at the Grand Lodge will leave a lasting impression on your guests, whether they are colleagues, family reunion attendees or friends gathering for a wedding celebration. We offer a variety of event spaces, guestrooms, a full-service spa and more. A gathering at the Grand Lodge takes you into a beautifully rural wine-country setting – yet is still convenient to the Portland International and Hillsboro Regional airports and only 30 minutes to downtown Portland. Contact our sales team to inquire or book your event. Get Started Here Parking & ADA There is complimentary parking surrounding the property at Grand Lodge; it is available on a first come, first served basis. ADA-accessible parking spaces are available in both the east and west lots, as well as in front of the main building where a ramp is available. We encourage guests to remove all valuables from their vehicle. Our main building offers an elevator, however, the Children’s Cottage does not.
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"https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/YELLOWCANARYTHE.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/you-can-t-escape-forever-1942-min_orig.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/374420498.jpg?1689793282", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/296521241.jpg?1689793275", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/152731609.jpg?1689793302", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/pre-code-2.jpg?1693249570" ]	[]	[]	[ "1940s Suspense Movies", "1940s Crime Dramas", "Film Noir", "ALIAS NICK BEAL", "APOLOGY FOR MURDER", "BACKGROUND TO DANGER", "BERLIN CORRESPONDENT" ]	null	[]	null	Femme fatales, hard-boiled detectives, and dark story lines. These gritty films the 1940s were the beginning of the film noir era. With their distinctive low-key lighting, filmed in black and white, (though some were filmed in color) reflected the ins	en		The Timeless Theater	https://www.timelesstheater.com/1940-suspense.html	Femme fatales, hard-boiled detectives, and dark story lines. These gritty films the 1940s were the beginning of the film noir era. With their distinctive low-key lighting, filmed in black and white, (though some were filmed in color) reflected the insecurities and tensions of the World War II era. A familiar theme involves the pursuit of a duplicitous dame and her twisted schemes who would invariably lead our doomed hero into committing robbery or murder in the name of passion or unrequited love. Perhaps unlike any other era, this genre featured critically acclaimed films featuring both A and B-list actors with large and small, shoestring budgets. Many of these actors, though successful in multiple genres, will be best remembered for their Film Noir performances: Elisha Cook Jr., Edmond O'Brien, Dennis O'Keefe, Robert Cummings, Robert Ryan, Rita Hayworth, Ann Savage, Hugh Beaumont, George Raft, Dana Andrews, Ray Milland, Dan Duryea, Chester Morris, Alan Ladd, Veronica Lake, Lawrence Tierney, Faye Emerson, and John Garfield.
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With Henry Fonda starring as the lone holdout juror who votes “not guilty,” the film retains its power today, as it dives into how individuals’ perceptions, racism, social class, and family history all impact a jury’s outcome. (Tubi, Amazon, MGM+, Pluto, Apple+) “Anatomy of a Murder” (1959): Frequently included in lists of the best legal movies ever made, this movie features Jimmy Stewart as a disillusioned defense attorney representing a client accused of murder. With much of the film set within the courtroom, “Anatomy” unsettlingly reveals that trials are more about lawyering than truth. And seeing Stewart play the attorney, without a shred of the charm he’s so well known for, packs an added punch that underscores the skepticism over the entire proceeding. (YouTube, Apple+, Vudu, Amazon) (Its 2023 descendent “Anatomy of a Fall” offers a modern, equally close examination of how facts are revealed, and distorted, during a trial.) “A Few Good Men” (1992): Tom Cruise and Jack Nicholson go head-to-head in this courtroom drama about two marines who stand trial for murdering another member of their unit. Their courtroom exchange is arguably one of the most famous moments in film and still worth quoting today. You may find yourself worth watching for that scene, but the rest of the film is an intriguing examination of how honor and courtroom ethics aren’t always copacetic. Demi Moore, Kevin Pollack, and Kevin Bacon also star. (AMC+, Apple+, Amazon) “The Trial of the Chicago 7” (2020): With an all-star cast, this Aaron Sorkin–directed film is the legal equivalent to an epic, as it examines the trial of political leaders at the 1968 Chicago Democratic convention to decide if they were culpable for the violence that ensued. The plot is fairly straightforward, but its use of flashbacks and courtroom narration gives the film a larger scope. And it’s a window into another time, while asking how much of politics and the law have really changed. (Netflix) “Witness for the Prosecution” (1957): Due to its terrific plot and captivating performances, this adaptation of an Agatha Christie play is not to be missed. Charles Laughton is a British barrister who takes on a new client accused of murder, even though the barrister has recently had a heart attack. Tyrone Power plays the accused, while Marlene Dietrich is his war bride. Beyond that, the film itself asks that audiences swear themselves to secrecy. (MGM+, Apple+, Roku, Amazon) Real-Life Heroes These films, based on true stories, will fill you with rage at the injustice of it all, cheer the protagonists’ fearlessness, and perhaps inspire you to consider how you make a difference—even apply to law school or, for lawyers, consider a new practice). “Erin Brockovich” (2000): One of the few legal movies that is carried by a non-lawyer, this film is about a single mother who gets a job working for a personal injury lawyer and ends up stumbling upon a mass tort case—helping hundreds of families being poisoned by a local power plant. Julia Roberts carries the film with her portrayal of Brockovich, who is torn between serving the needs of her clients and her family. (Amazon, Netflix, Vudu) (For another compelling film about a true class action case, check out “A Civil Action,” starring John Travolta.) (Netflix, Amazon, Apple+) “Judgment at Nuremberg” (1961): With an all-star cast that includes Spencer Tracy, Burt Lancaster, Marlene Dietrich, and Judy Garland, “Nuremberg” is the true story of judges who served on the bench after the Nazi government took over Germany. The film is a searing look at how, by rulings in individual cases, judges can give legitimacy to a profoundly corrupt system, and ultimately became collaborators in the Nazi government’s atrocities. (Pluto, Tubi, Amazon) “Judgment in Berlin” (1988): This small film, shot entirely in the still-divided West and East Berlin, is the true story of U.S. federal judge Herbert Stern (played by Martin Sheen), presiding over the prosecution of two East Berliners who hijacked a plane into the West. When the film was released, it was largely dismissed by critics and audiences, but lawyers and “West Wing” fans especially may find it gratifying to watch Sheen’s Stern wrestle with the case’s constitutional questions, and, in doing so, remind us just how much of the Constitution’s power depends on the character of individuals. (Sling, Roku, Amazon) “Just Mercy” (2018): “Just Mercy” tells the true story of Bryan Stevenson (played by Michael B. Jordan), a Harvard-trained lawyer who decides to start a tiny office that provides free legal services to those on Alabama’s death row—and especially the case of Walter McMillian (played by Jamie Foxx) who has been convicted for a murder. As Stevenson deals with a profoundly racist legal system stacked against his clients and himself, don’t be surprised if you want to go to Alabama and help him fight the good fight. (Max, Amazon, Apple+) “Marshall” (2017): With glowing performances, this period drama portrays NAACP legend (and future justice) Thurgood Marshall’s involvement in one of his early cases. Chadwick Boseman’s Marshall wants to defend his client, Sterling Brown, accused of raping his employer (Kate Hudson). However, he’s not admitted to the bar in Connecticut, so a local attorney, Sam Friedman, is drafted into litigating the case on Marshall’s behalf—to the horror and chagrin of both Marshall and Friedman. (Netflix, Apple+, Amazon) “On the Basis of Sex” (2018): Similar to “Marshall”’s approach, this fictionalized drama about Justice Ruth Bader Ginsberg (with Felicity Jones starring as Ruth) explores Ginsberg’s early years—her fight to become an attorney and the one case that began her work to end gender discrimination in the law. And the film is as much about how her role as wife and mother shaped her practice and vice versa. Ginsberg fans may also consider the equally notable documentary, “RBG.” (Apple+, Amazon, Vudu) The Best of the Legal Thrillers Even though they may have a requisite car chase or other genre standards, what makes a legal thriller truly great is when the terror arises out of an ethical decision that an attorney must make or has already made. At some point, they must choose between what the law requires and their own—and others’—safety. “The Lincoln Lawyer” (2011): Star Matthew McConaughey at once plays to and against type as an oily but brilliant criminal defense attorney, defending a wealthy young man against a brutal rape charge. Character driven more than plot driven, the film is a troubling window into the ethical quandaries an attorney faces when their client just might be a monster. (Peacock, Vudu, Apple+) “Michael Clayton” (2007): This star-studded film received seven Oscar nominations, including for Best Picture. George Clooney plays the titular character, a burned-out “fixer” who dreams of returning to a more-esteemed practice of law. Instead, he must fix a problem for his own firm: his boss (played by Tom Wilkinson) may have been driven mad, or achieved a new clarity, due to a corporate client’s wrongdoing and the law firm’s role in covering up—even facilitating—the malfeasance. (Hulu, Sling, Apple+) “Primal Fear” (1996): Richard Gere plays a cynical criminal defense attorney defending his client, a literal altar boy accused of murdering a Chicago archbishop. And the stakes become much higher when he starts to believe his client, flawlessly played by Edward Norton (nominated for an Oscar), is innocent. The supporting cast is jaw-dropping: Laura Linney, Andre Braugher, Maura Tierney, John Mahoney, Frances McDormand, Alfre Woodward, and the list goes on. (Amazon, Apple+) On the Lighter Side…. Law-related films don’t have to be tragedies, or even dramas, to fit the bill, as these three comedies demonstrate. And part of the fun is that, as silly as each’s premise is, the legal issues—especially procedural ones—are smart and hidden between the laugh lines are some truly savvy takes on the law. “Miracle on 34th Street” (1947): While a beloved Christmas film, many people forget the fact that the plot is centered on a New York City courtroom: a judge must decide if Macy’s Santa Claus is the real Santa, and if he’s not, should Santa be institutionalized. And don’t be so hung up on the premise to miss the film’s jabs at how the law is so influenced by politics, media, personal agendas, and money. (Hulu, Disney+ Apple+, Amazon) “My Cousin Vinny” (1992): While the slapstick outside of the courtroom is a more than bit cartoonish, this fish-out-of-water comedy, starring Joe Pesci as a Brooklyn attorney struggling to figure out how to save his cousin, accused of murder in a small Alabama town, has some of the all-time best courtroom scenes. Marisa Tomei gives an Oscar-winning performance as Pesci’s wisecracking fiancée, while Fred Gwynne is a delight as the exasperated judge overseeing Pesci’s antics. (Amazon, AMC+, Sling, Apple+)
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you on the edge of your seat. Enjoy!	en	https://www.glamour.com/verso/static/glamour/assets/favicon.ico?v=1	Glamour	https://www.glamour.com/gallery/best-mystery-movies	Starting with Knives Out. The beauty of the best mystery movies and TV shows is that they prey on our human instinct to look for answers to questions. It can feel maddening to not know what’s going to happen next, and yet we love it when a crime thriller is impossible to predict. Even better if the mystery has you on the edge of your seat until the very last second. Whether it’s a vintage whodunit or a terrifying small-town psychological thriller, the best mystery movies in particular never stop being fun. Trying to differentiate the bad from the good, guessing who’s lying or telling the truth, and attempting to solve a true crime thriller are all mental puzzles that are endlessly frustrating yet completely entertaining. We’re never not in the mood for more movies like Knives Out. So with that in mind, we’ve compiled a list of the best mystery films you can stream tonight. What is the best mystery movie of all time? We may not be able to pick just one. From Alfred Hitchcock classic movies to Oscar-winning M. Night Shyamalan thriller twists, these picks span every genre. If you’re in the mood for funny comedy, try something light like The Lovebirds. Fans of horror movies and crime thrillers will be intrigued by Get Out and Seven. Meanwhile, those who prefer a moving drama might enjoy Arrival. No matter what kind of mystery movie you’re feeling, we’ve got you covered. All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission. All products are independently selected by our editors. If you buy something, we may earn an affiliate commission.
6282	dbpedia	0	31	https://diabolikdvd.com/product/dinged-v6-columbia-noir-the-whistler-le-indicator-uk-blu-ray-region-b/	en	(DINGED) V6 Columbia Noir The Whistler (LE Indicator UK) (Blu	https://diabolikdvd.com/…SQUARE-32x32.jpg	https://diabolikdvd.com/…SQUARE-32x32.jpg	[ "https://diabolikdvd.com/wp-content/uploads/2023/10/Diabolik-logo-new-2.png", "https://diabolikdvd.com/wp-content/uploads/2023/10/Diabolik-logo-new-2.png", "https://diabolikdvd.com/wp-content/uploads/2024/02/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_1296x.png-400x455.webp", "https://diabolikdvd.com/wp-content/uploads/2024/02/354_COLUMBIA_NOIR__6_packshot_72dpi_RGB_transp_1296x.png-100x100.webp", "https://diabolikdvd.com/wp-content/uploads/2024/06/360_CONFESSIONS_slipcase_72dpi_1000px_1296x.png-300x341.webp", "https://diabolikdvd.com/wp-content/uploads/2024/08/PHISE235_EYE_OF_THE_CAT_SE-BD_packshot_2D_1000px_1296x.png-300x390.webp", "https://diabolikdvd.com/wp-content/uploads/2024/07/PHISE100_THE_OLD_DARK_HOUSE_SE_BD_packshot_2D_1000px_1296x.png-300x390.webp", "https://diabolikdvd.com/wp-content/uploads/2024/04/373_SINGLE_WHITE_FEMALE_BD_packshot_72dpi_1000px_1296x.png-300x390.webp" ]	[]	[]	[ "" ]	null	[]	null		en	https://diabolikdvd.com/…SQUARE-32x32.jpg		https://diabolikdvd.com/product/dinged-v6-columbia-noir-the-whistler-le-indicator-uk-blu-ray-region-b/	Limited Edition Blu-ray (World Blu-ray premieres) THE WHISTLER (William Castle, 1944) THE MARK OF THE WHISTLER (William Castle, 1944) THE POWER OF THE WHISTLER (Lew Landers, 1945) VOICE OF THE WHISTLER (William Castle, 1945) MYSTERIOUS INTRUDER (William Castle, 1946) THE SECRET OF THE WHISTLER (George Sherman, 1946) THE THIRTEENTH HOUR (William Clemens, 1947) THE RETURN OF THE WHISTLER (D Ross Lederman, 1948) Our sixth journey into Columbia Pictures’ film noir output walks a different path, taking a detour into the mysterious world of the Whistler, as we present all eight films in the popular series. Adapted from a hit radio series, each episode has the Whistler emerge from the shadows to introduce a nightmarish, twisting tale in his own sardonic manner, with the first seven films starring Richard Dix (It Happened in Hollywood). In The Whistler, a guilt-stricken man hires a contract killer to end his life… but finds he cannot pull out of the deal. The Mark of the Whistler sees a homeless man claim the money in an abandoned bank account, only to find the rightful owners on his tail. In The Power of the Whistler, an amnesiac must reconstruct his dark past using only the items in his pockets. Voice of the Whistler finds a poor nurse marry her wealthy, terminally ill patient, only for him to defy the odds and recover. In Mysterious Intruder, a private eye becomes embroiled in a murderous race to track down a missing girl and a lost fortune. The Secret of the Whistler sees a young bride suspect that her new husband may have murdered his first wife. In Dix’s final film, The Thirteenth Hour, the owner of a trucking company is framed for a murder he didn’t commit. Finally, in The Return of the Whistler, Michael Duane takes the lead as a man whose fiancée is abducted on the eve of their wedding. This essential four-disc collection marks the UK Blu-ray premiere of all eight films, and features an array of fascinating contextualising extras, including newly recorded commentaries, critical appreciations, rare archival short films, and a 120-page book. Strictly limited to 6,000 individually numbered units. INDICATOR LIMITED EDITION 4 x BLU-RAY BOX SET SPECIAL FEATURES High Definition presentations of The Whistler, The Power of the Whistler, Voice of the Whistler, Mysterious Intruder, The Secret of the Whistler, The Thirteenth Hour, and The Return of the Whistler Standard Definition presentation of The Mark of the Whistler Original mono audio Audio commentary with film historian Josh Nelson on The Whistler (2024) Audio commentary with professor and film scholar Jason A Ney on The Power of the Whistler (2024) Audio commentary with film historian Lee Gambin on Voice of the Whistler(2024) Audio commentary with film historian Jeremy Arnold on Mysterious Intruder(2024) Audio commentary with academic and curator Eloise Ross on The Thirteenth Hour (2024) Kim Newman on ‘The Whistler’ (2024): in-depth exploration of the film series by the critic and author Kim Newman on William Castle (2024): overview of the cult filmmaker’s early career as a studio-contracted director, prior to his successes as an independent showman best known for his macabre genre movies Stuart Holmes Oral History (1958): rare archival audio recording of the prolific character actor in conversation with historian George Pratt It’s Murder (1944): dramatised documentary, produced by Columbia Pictures for the war effort and featuring a number of cast and crew members from The Whistler film series It’s Your America (c. 1945): dramatised documentary focusing on soldiers returning from World War II, directed by John Ford and featuring J Carroll Naish, the antagonist in The Whistler Image galleries: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing Limited edition exclusive 120-page book with a new essay by Tim Lucas, archival interviews with actor Richard Dix, an extract from director William Castle’s autobiography, an archival article on the popularity of the radio show, new writing on the short films, and film credits World premieres on Blu-ray Limited edition box set of 6,000 individually numbered units for the UK All extras subject to change
6282	dbpedia	0	66	https://www.thefilmcsa.com/whmoco.html	en	THE WHISTLER MOVIES COLLECTION - RARE DVDS	https://s.turbifycdn.com…ollection-34.gif	https://s.turbifycdn.com…ollection-34.gif	[ "https://www.facebook.com/tr?ev=6018852055901&cd[value]=0.00&cd[currency]=USD&noscript=1", "https://s.turbifycdn.com/aah/yhst-28239674641265/tv-series-1.gif", "https://s.turbifycdn.com/aah/yhst-28239674641265/the-whistler-movies-collection-39.gif", "https://s.turbifycdn.com/ae/store/secure/twitter.png", "https://s.turbifycdn.com/ae/store/secure/v-separator.gif" ]	[]	[]	[ "" ]	null	[]	null					http://www.thefilmcsa.com
6282	dbpedia	0	89	https://www.imcdb.org/m37049.html	en	IMCDb.org: "The Mark of the Whistler, 1944": cars, bikes, trucks and other vehicles			[ "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/t871512.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871521.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871518.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871511.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871516.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871517.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871520.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871509.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871514.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871515.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871522.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/t871463.jpg", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/flags/FR.png", "https://pics.imcdb.org/th17160/castle44whistler01.jpg", "https://pics.imcdb.org/th17160/castle44whistler67.jpg", "https://pics.imcdb.org/th17160/castle44whistler49.jpg", "https://pics.imcdb.org/th17160/castle44whistler40.jpg", "https://pics.imcdb.org/th17160/castle44whistler41.jpg", "https://pics.imcdb.org/th17160/castle44whistler42.jpg", "https://www.imcdb.org/res/flags/FR.png", "https://www.imcdb.org/res/flags/US.png", "https://www.imcdb.org/res/smileys/).gif", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/empty.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star.png", "https://www.imcdb.org/res/star-unknown.png", "https://www.imcdb.org/res/star-trailer.png", "https://www.imcdb.org/res/star-cut.png", "https://www.imcdb.org/res/star-altend.png", "https://www.imcdb.org/res/star-bonus.png" ]	[]	[]	[ "" ]	null	[]	null			/favicon.ico		https://www.imcdb.org/m37049.html
6282	dbpedia	1	21	https://bampfa.org/event/power-whistler-voice-whistler-and-mysterious-intruder	en	The Power of the Whistler, Voice of the Whistler, and Mysterious Intruder			[ "https://bampfa.org/sites/all/themes/bam_pfa/logo.jpg", "https://bampfa.org/sites/all/themes/bam_pfa/logo.jpg", "https://bampfa.org/sites/all/themes/bam_pfa/images/credit.png" ]	[]	[]	[ "" ]	null	[]	2014-12-22T07:06:18+00:00	The Power of the Whistler Lew Landers (U.S., 1945)New Print“Here is a strange man,” intones the Whistler as Richard Dix enters the empty frame. The name of the stranger, we're told, is William Everest. But who is he, really? That's the mystery-even, at first, to Everest. While an attractive new acquaintance (Janis Carter) tries to help the amnesiac recover his identity,	en	https://bampfa.org/sites/all/themes/bam_pfa/favicon.ico	BAMPFA	https://bampfa.org/event/power-whistler-voice-whistler-and-mysterious-intruder	The Power of the Whistler Lew Landers (U.S., 1945) New Print “Here is a strange man,” intones the Whistler as Richard Dix enters the empty frame. The name of the stranger, we're told, is William Everest. But who is he, really? That's the mystery-even, at first, to Everest. While an attractive new acquaintance (Janis Carter) tries to help the amnesiac recover his identity, unsettling events accrue around the man. Why do kittens and canaries just happen to drop dead when he's around? Compounding the layers of confusion and cunning, the teasing narrator seems to revel in the secret of what Everest might really be up to. The sheer creepiness of Dix's performance is rivaled only by the weirdness of the Whistler himself. Followed by: Voice of the Whistler William Castle (U.S., 1945) New Print Now the Whistler walks not down urban alleys but along a rocky coastline, where a remote lighthouse is the setting for a striking tale. “Loneliness is a disease,” a doctor tells terminally ailing industrialist John Sinclair (Dix). So Sinclair seeks palliative care in the form of pretty nurse Joan (Lynn Merrick), making her a business proposition: after a few months as his wife, she will inherit his vast fortune. But can Sinclair really uphold his end of the bargain? In a series of ironic reversals—often announced by the narrator with malevolent glee—what begins as a paean to human connection becomes a case study in resentment and other fatal diseases of the heart. And: Mysterious Intruder William Castle (U.S., 1946) New Print “I may not be the greatest detective in the world, but I am the most unusual,” boasts Don Gale (Dix). Indeed, Gale goes in for some unconventional methods as he tracks a complicated trail of falsehoods, adding his own for good measure, in this swift-moving mystery. It begins with an old man looking for a girl named Elora, hoping to deliver a box that rightfully belongs to her. The search turns up not too few clues, but too many: there are multiple “Eloras,” boxes within boxes, and corpses cropping up at inconvenient moments. (Cop: “Who discovered the body?” Gale: “I did.” Cop: “What, again?”) Even the Whistler seems caught up in the oddball action, calling “Look out!” before a shot is fired. Unfortunately, we’re the only ones who hear him. —Juliet Clark
6282	dbpedia	3	38	https://www.nytimes.com/2024/04/24/movies/nicole-kidman-roles.html	en	What Directors Love About Nicole Kidman	https://static01.nyt.com…acebookJumbo.jpg	https://static01.nyt.com…acebookJumbo.jpg	[ "https://static01.nyt.com/images/2024/04/24/multimedia/24nicole-kidman-gcvq/24nicole-kidman-gcvq-articleLarge.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Carlos Aguilar", "www.nytimes.com", "carlos-aguilar" ]	2024-04-24T00:00:00	As the actress receives a life achievement award from the American Film Institute this week, five filmmakers discuss what makes her work so singular.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2024/04/24/movies/nicole-kidman-roles.html	“We come to this place for magic,” Nicole Kidman says in the well-known AMC Theaters preshow advertisement. And who could better welcome back audiences to experience movies on the big screen than an acclaimed artist who’s illuminated stories across all genres? Kidman has starred in daring art house projects (“Dogville,” “Birth”), awards-friendly dramas (“Cold Mountain,” “Rabbit Hole”), big-budget crowd-pleasers (“Aquaman,” “Paddington”) and everything in between. On Saturday, the Australian American Oscar-winning actress will receive the life achievement award from the American Film Institute in Los Angeles. At 56, Kidman is among the youngest honorees. But what qualities have kept Kidman consistently in demand for the past three decades? The New Zealand director Jane Campion said via email that “her fierce curiosity has helped her take an audience inside some gnarly women.” The American filmmaker Karyn Kusama described her as a “channeler of inchoate energy,” and explained that when this “coalesces into something visceral for her character, you almost feel the molecules in the air shift around her.”
6282	dbpedia	3	80	https://www.tcm.com/tcmdb/title/2737/the-thin-man	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	http://prod.tcm.com/unavailable/	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
6282	dbpedia	3	79	https://www.cbsnews.com/news/justin-baldoni-it-ends-with-us-movie-domestic-violence/	en	"It Ends With Us" star Justin Baldoni hopes romance movie can create change: "We need to end the cycle"	https://assets2.cbsnewss…61ee316b5993cbf9	https://assets2.cbsnewss…61ee316b5993cbf9	[ "https://www.cbsnews.com/assets/show/cbs-mornings/logo-square-32.svg", "https://assets3.cbsnewsstatic.com/hub/i/r/2024/08/15/32ae39ab-5d99-45a7-a4ff-6c4d0db45d45/thumbnail/140x90g4/a50b8e00e140e295b0773612ea437e23/ap24228533490544.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2024/08/15/46ef5acf-099f-4955-9dbc-95a8f48a6718/thumbnail/140x90/01066b94c502d444d6babb19b7eeec75/0815-cmo-johncena-diaz-mid.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2024/08/10/595a26ab-32d2-445b-9cc3-5a5290214ead/thumbnail/140x90/dc9ff81da64aa6435e2c3ef0d253fb71/post-malone-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2024/08/09/0a04a9c1-54e7-478b-a292-52fa6af23936/thumbnail/140x90/f81233164c1bb254629061ef4c46c253/0809-cmo-livelysklenar-intv-mid.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2024/08/08/3d5513ff-1c8b-4be2-b32d-bcba497cd5d2/thumbnail/140x90/e999e5584440162662d3bad13e282dfb/gettyimages-2158565048.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2024/08/15/46ef5acf-099f-4955-9dbc-95a8f48a6718/thumbnail/1200x630/7186d373ea0e815a0afe93d2e95e755a/0815-cmo-johncena-diaz-mid.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2024/08/15/5192d76d-1d9f-4d4d-b1e5-a13ef5ed9d43/thumbnail/1200x630/e7e2f5bec2a401193bda8ec87b8d6c90/0815-cmo-ballerinarussia-vanheerden-mid.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2024/08/15/20b66af8-892a-43de-9cc7-4d03b56a1604/thumbnail/1200x630/4b8cf6d9f62e6d251dd380c286b32576/0815-cmo-panmasschallenge-chen-mid.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2024/08/06/9a643921-47ea-4e2f-972f-295c578adb9f/thumbnail/1200x630g2/36cf83b3e6c84a331afd2d92c7d68ae9/gabby-thomas.jpg?v=ca135fae0838bc5b23b70dacd2a620f1" ]	[]	[]	[ "Movies", "Books", "Blake Lively" ]	null	[ "Kelsie Hoffman" ]	2024-08-07T12:55:00-04:00	Justin Baldoni, who stars and directed the adaptation of Colleen Hoover's popular novel, "It Ends With Us," talks about the impact of the romance movie, which touches on domestic violence.	en	https://www.cbsnews.com/…61ee316b5993cbf9		https://www.cbsnews.com/news/justin-baldoni-it-ends-with-us-movie-domestic-violence/	The highly anticipated movie "It Ends With Us," which is an adaptation of Colleen Hoover's popular novel, is putting a spotlight on domestic violence. The movie follows a florist named Lily, played by Blake Lively, who's chasing her dream to open up her own shop. Co-star and director Justin Baldoni plays Ryle, a neurosurgeon who seems like a nice guy, but turns abusive. Baldoni didn't intend on casting himself in the movie, but it was an email from Hoover that encouraged him to take on the role of Ryle. "I was looking for movies that could be commercial and speak to the human experience," he said. "I had never read a romance novel. By the end of the book, I couldn't even read the text on the page because I was crying so much." Baldoni said Hoover's novel — which sold 6 million copies — was inspired by her mother, who had a similar real-life experience as someone who endured domestic abuse. "She was Lily Bloom and I just thought if this could affect me in this way then I could only imagine what it could do for women and people who are in this situation all over the world," he said. "All of us have a situation or a pattern that we need to end the cycle of." He hopes the movie helps to create change. Too often, Baldoni said, people ask "why did she stay?" in regards to a woman in an abusive relationship, whether it's in real life or in a book or movie. "We need to be asking ourselves, why do men harm? And that was the big thing for me, and what I learned more and more and more of is these women who experience this every single day, there's real love there. There's charm. There's charisma. There's passion. There's this belief they can be better, and it's not so simple." He worked with an organization called No More that is dedicated to ending domestic and sexual violence, with the goal of creating an honest reflection of what women experience. Baldoni hopes "It Ends With Us," which premiered Tuesday, helps to create a safer world through compassion and empathy. He said he wants men to go see the romance movie and take accountability in their lives after watching it. "I want men to go to the theater and in some ways see a version of themselves. You have two very different characters. Both of them in Atlas and Ryle have had past trauma," he said. "One handles it very different than the other and my other hope is the men who have not done the work, who have not done the work to heal, if they see bits of themselves in Ryle, have a chance to step back and say, 'You know what, I don't want to blow up my life. I don't want to hurt the person i love the most.'"
6282	dbpedia	0	7	https://en.wikipedia.org/wiki/The_Whistler_(1944_film)	en	The Whistler (1944 film)	https://upload.wikimedia…poster_small.jpg	https://upload.wikimedia…poster_small.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/6/63/Whistler_1944_poster_small.jpg/220px-Whistler_1944_poster_small.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2012-09-01T17:38:09+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Whistler_(1944_film)	1944 film by William Castle The WhistlerDirected byWilliam CastleScreenplay byEric TaylorBased onThe Whistler 1942-55 radio series by J. Donald WilsonProduced byRudolph C. FlothowStarringRichard Dix Gloria Stuart J. Carrol NaishNarrated byOtto ForrestCinematographyJames S. Brown Jr.Edited byJerome ThomsMusic byRené Garriguenc Lucien Moraweck Production company Larry Darmour Productions Distributed byColumbia Pictures Release date Running time 60 minutesCountryUnited StatesLanguageEnglish The Whistler is a 1944 American mystery film noir directed by William Castle and starring Richard Dix, Gloria Stuart and J. Carrol Naish. Based on the radio drama The Whistler, it was the first of Columbia Pictures' eight "Whistler" films starring Richard Dix produced in the 1940s.[1] The film will be under copyright until 2040 due to renewal.[2] Plot [edit] Industrialist Earl C. Conrad, who failed to rescue his wife at sea and now suffers from grief and guilt, arranges to have a hit man end his life. He does not know how he will be killed, but knows that it will happen within days. Suddenly Conrad learns that his wife is still alive, and he tries to call off the hit. Unfortunately, the underworld go-between who made the deal with him has been killed in the meantime, leaving Conrad unable to learn the identity of the actual hit man. The pathological hired killer, obsessed with carrying out his mission, stalks Conrad as the frightened industrialist stays on the move. Always looking over his shoulder and trying to think of a way to survive, Conrad keeps running into other dangers, including the vengeance of the dead man's wife. Cast [edit] Richard Dix as Earl C. Conrad Gloria Stuart as Alice Walker J. Carrol Naish as The Killer Alan Dinehart as Gorman Otto Forrest as the voice of The Whistler (uncredited) Joan Woodbury as Antoinette 'Toni' Vigran (uncredited) Robert Emmett Keane as Charles 'Charlie' McNear (uncredited) Don Costello as Lefty Vigran aka Gorss (uncredited) Production [edit] William Castle's debut movie Chance of a Lifetime had been poorly received but Harry Cohn decided to give him another chance and assigned the director to The Whistler. Castle had not liked the script for Lifetime but loved The Whistler script.[3] Castle wrote in his memoirs "I tried every effect I could dream of to create a mood of terror: low key lighting, wide angle lenses to give an eerie feeling and a handheld camera in many of the important scenes to give a sense of reality to the horror."[4] Castle says he also made Dix give up smoking and go on a diet to make the actor more irritable, and keep him waiting on set and force him to redo scenes in order to increase the sense that he was haunted.[5] Cohn liked the movie although he made several suggestions to improve the film.[6] Reception [edit] When the film was released, film critic Bosley Crowther panned it, writing, "Such is the miserable expedient to which Richard Dix is reduced in this weary, illogical imitation of an Alfred Hitchcock (plus an early Fritz Lang) film. For an hour or thereabouts he starts and stumbles just out of reach of a relentless J. Carrol Naish, who first has the original intention of frightening Mr. Dix to death. Along that line, the producers might have made a likely serio-comic film, but they change Mr. Naish's mind too quickly and send him—and the picture—in for a real kill. And so we get the routine spectacle of a dragged-out killer-and-victim chase, all very serious and phony—and, consequently, very dull."[7] More recently, film critic Dennis Schwartz gave the film a more favorable review, writing, "This action-packed one-hour mystery story was the first film in a series spun off from the successful radio program of the '30s and '40s. It starts off with some whistling and a monologue by the unseen Whistler, just as it was done on radio: 'I am the Whistler...and I know many things, for I walk by night.' ... This well-done suspense story continues with the panicky Earl trying to track down the killer to cancel the contract, while the killer thinks he can scare his target to death by just tailing him. The film's theme is that man cannot change his destiny, and if his destiny is to die by murder...that's what it will be. The Whistler states at the end: 'I know because I am the Whistler.' The result is an entertaining B film."[8] Film critic Leonard Maltin gave it three out of four stars, writing: "[This] tense and moody tale of fate sets the ironic tone for the rest [of the Whistler series]. Naish shines as the principal hit man."[9] The movie was seen by the King Brothers who hired Castle to make When Strangers Marry (1946).[10] Sequels [edit] The film was a popular box office attraction and seven sequels were produced over the ensuing four years. The Whistler - 1944, directed by William Castle The Mark of the Whistler - 1944, directed by William Castle The Power of the Whistler – 1945, directed by Lew Landers Voice of the Whistler – 1945, directed by William Castle Mysterious Intruder – 1946, directed by William Castle The Secret of the Whistler – 1946, directed by George Sherman The Thirteenth Hour – 1947, directed by William Clemens The Return of the Whistler – 1948, directed by D. Ross Lederman See also [edit] Tribulations of a Chinaman in China (novel by Jules Verne, 1879) Flirting with Fate (1916) The Man in Search of His Murderer (1931) You Only Live Once (1952) Five Days (1954) Up to His Ears (1965) Tulips (1981) I Hired a Contract Killer (1990) Bulworth (1998) Shut Up and Shoot Me (2005) References [edit] Notes [edit] Bibliography [edit] Castle, William (1976). Step right up! : ... I'm gonna scare the pants off America. Putnam. Pitts, Michael R. Famous Movie Detectives II. Rowman & Littlefield, 1991. ISBN 0-8108-2345-4. Van Neste, Dan. " The Whistler: Stepping Into the Shadows -- A Columbia Film Series". BearManor Media, 2011. ISBN 1-59393-402-5. Wilt, David E. Hardboiled in Hollywood. Popular Press, 1991. ISBN 0-87972-525-7.
6282	dbpedia	1	37	https://www.atlasofwonders.com/2019/10/nancy-drew-the-claw-location-where-horseshoe-bay-filmed.html	en	Where is Nancy Drew filmed? 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"https://c.statcounter.com/6965302/0/3aae7a20/1/" ]	[]	[]	[ "" ]	null	[ "Ra Moon" ]	2019-10-08T17:22:00-07:00	Nancy Drew series Filming Locations Guide - The set where The Claw lobster shack is located in the Horseshoe Bay town	en	https://www.atlasofwonders.com/favicon.ico	Atlas of Wonders	https://www.atlasofwonders.com/2019/10/nancy-drew-the-claw-location-where-horseshoe-bay-filmed.html	Posted by Ra Moon The Nancy Drew series is a new adaptation based on the stories of the adventurous character created by Edward Stratemeyer in 1930. The CW Network production develops the story of a murder mystery, that 18-year-old Nancy (played by young actress Kennedy McMann) will try to solve. Nancy Drew was filmed in Horseshoe Bay, British Columbia, and Vancouver. This updated version of the detective girl is not set in the fictional anywhere town of River Heights (although Nancy's house street is called River Heights Dr). On this occasion, the series is happening in the atmospheric village of Horseshoe Bay in Maine. The show is influenced by the universe and the filming locations where Riverdale is filmed. The Bayside Claw Restaurant The lobster shack The Bayside Claw or The Claw was filmed in an empty restaurant at Sunset Marina, located on the Sea to Sky Highway. The small lighthouse was added to the set. This gorgeous road, going all the way from Vancouver to Whistler, is a scenic drive with stunning views over the spectacular Howe Sound. (You can open all the locations on Google Maps by clicking on the links below in the captions ↴) Image courtesy of The CW and Google Maps Where is Horseshoe Bay located? Horseshoe Bay is a small village in the district municipality of West Vancouver. The aerial footage was also filmed in this community located at the Sea-to-Sky Highway southern end. Image courtesy of The CW and Brad-514 - Map The real Horseshoe Bay has a small pier and a busy ferry terminal from where you can explore the fjords and wildlife around Vancouver. This scene pictured from the pilot episode was filmed near Sewell's Marina lookout. Image courtesy of The CW and Google Maps The building pictured is the local Starbucks, located opposite the seafront in Royal Avenue. Image courtesy of The CW and Google Maps The Horseshoe Bay Police Department exterior was filmed in Port Coquitlam City Hall. Image courtesy of The CW and Google Maps The Drew's house is a five-bedroom historic home built in 1911, located at 937 Moody Avenue in North Vancouver. Image courtesy of The CW - Map The Seawater Festival from the second episode was filmed at Garry Point Park in Steveston, near the Kuno Garden. The AppleTV show Home Before Dark was also filmed here in Steveston, appearing in the series as the fictional town of Erie Harbor. You can find all the locations in our post: Where was Home Before Dark filmed? Image courtesy of The CW and Google Maps The mansion of Owen Marvin's charity gala from episode 5 'The Case of the Wayward Spirit', is the Cecil Green Park House from the University of British Columbia. The Lakeview Upload Hotel of the 2020 Amazon series and a house of the Netflix drama Bly Manor were also recorded here on location. Image courtesy of The CW and Google Maps The staircase of the Velvet Masque Club, where the auction of episode 6 'The Mystery of Blackwood Lodge' takes place, is Riverview Mental Hospital in Coquitlam. The Larkspur Lane Sanitarium was also filmed in one of the buildings of this large complex. Image courtesy of The CW and Google Maps Can you help to improve this article about the filming locations of Nancy Drew? To complete and correct this report, any feedback, info or images that you may have are more than welcome, thank you! NOTICE: If you’re using this information on your website, please credit and link to this page as a source. ***** Ra Moon Atlas of Wonders is looking for wonderful Filming Locations all around the world. We are constantly updating and improving our posts with new details and images. Follow us here:
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"https://www.yardbarker.com/images/icons/twitter.png", "https://www.yardbarker.com/images/ncpg_logo.png", "https://sb.scorecardresearch.com/p?c1=2&c2=7161055&cv=4.4.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Chris Morgan" ]	2024-04-30T16:30:19-04:00	We are focusing more on movies that are built around crime, as opposed to detective stories or mystery films involving a crime. That is to say, don’t expect Sherlock Holmes to show up.	en	/apple-touch-icon.png?v=2	Yardbarker	https://www.yardbarker.com/entertainment/articles/the_20_best_british_crime_films/s1__33788642	The British do costumed dramas and slapstick comedy quite well, but they also know their way around a gritty crime movie. Over the decades, there have been many British crime films, either being made by British actors and directors or at least set in Britain. There are heist movies, gangster flicks, and so much more. We’ve collected a list of our favorite British crime films. Now, “crime” is a pretty wide genre. We are focusing more on movies that are built around crime, as opposed to detective stories or mystery films involving a crime. That is to say, don’t expect Sherlock Holmes to show up. 5 of 20 “A Fish Called Wanda” (1988) MGM “A Fish Called Wanda” is known more for the comedy than the crime, but it’s definitely a British crime film. Yes, even though Jamie Lee Curtis and Kevin Kline are two of the costars, and Kline even won an Oscar for his performance. Two of the other main characters are Monty Python’s John Cleese and Michael Palin, and the action all takes place in England. Also, the inciting incident is a crime, and most of the main characters are in on it. 16 of 20 “Croupier” (1998) Image Entertainment Mike Hodges made his directorial debut with the original “Get Carter,” and for his penultimate film he gave us “Croupier.” It was not a big hit and got a small release, but it was quite critically acclaimed in the United States. A lot of that love went to the film’s star, an actor on the rise who was still waiting for his big break. That would be none other than Clive Owen. If you want to see Owen’s first big role, give “Croupier” a shot.
6282	dbpedia	0	16	https://www.moviepostermem.com/Secret-Of-The-Whistler-Poster/60870	en	Secret Of The Whistler Poster, UK Quad, 1946			[ "https://www.moviepostermem.com/images/design/logo.jpg", "https://www.moviepostermem.com/images/design/basket.jpg", "https://www.moviepostermem.com/images/products/square/908606db-f7e0-45d6-9991-aefd5995ebf2.jpg", "https://www.moviepostermem.com/images/products/thumb/32148ec5-18de-445b-9496-cb5d89b768df.jpg", "https://www.moviepostermem.com/images/products/thumb/d4150592-ad79-42c2-92cf-d0aee435202f.jpg", "https://www.moviepostermem.com/images/products/thumb/b32c9793-cea2-4aa2-8d2e-c35d83f8f9a2.jpg", "https://www.moviepostermem.com/images/products/thumb/eb6d356a-4568-4326-9b04-73a950c55bb5.jpg", "https://www.moviepostermem.com/images/products/thumb/6e63b3fc-b7a5-418d-9422-ad6ce92be47e.jpg", "https://www.moviepostermem.com/images/products/thumb/7a17f49d-d707-409e-9916-3bb8c0030b88.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			null	Hover over the image to zoom in Secret Of The Whistler Poster Scarce UK Quad poster for the American film-noir "Secret Of The Whistler" (1946). "The Whistler" was a popular radio series of mystery thrillers that ran from 1942-55 in the US. Columbia acquired the rights & released eight "Whistler" films 1944-48, the "Sectet of..." being the sixth in the series. Poster folded with minor rim damage, some foldline wear etc but overall still in good condition. Price: £75.00 Film Category: Film Noir Director: George Sherman Actor / Actresses: Richard Dix, Leslie Brooks, Michael Duane Poster Type: UK Quad (30" x 40", 76cm x 102cm) Poster Artist: Unknown Condition: Good Year: 1946 Reference: 60870 For assistance or to order via the telephone: +44 (0)1635 269 327
6282	dbpedia	3	43	https://www.premiumbeat.com/blog/guide-to-basic-film-genres/	en	A Guide to the Basic Film Genres (and How to Use Them)	https://pbblogassets.s3.…Genre-Theory.jpg	https://pbblogassets.s3.…Genre-Theory.jpg	[ "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/logo_black.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/burger.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/ico_shopping.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/TheBeat.svg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/01/Genre-Theory.jpg?w=875&h=490&crop=1", "https://vip-go.premiumbeat.com/wp-content/uploads/userphoto/76.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/01/Forbidden-Planet.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/01/Gone-with-the-Wind.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/06/John-Wick-Action-Genre-1.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/06/three-stooges-1.jpeg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/06/Halloween-Slasher-2-1.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/03/star-wars.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/05/hell-or-high-water.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/06/Titanic-Romance-Films-1.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/03/James-Bond-Spy-Thriller-1.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/04/fellowship-of-the-ring.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/04/day-after-tomorrow.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/07/the-big-boss.jpg", "https://www.premiumbeat.com/blog/wp-content/uploads/2020/01/Pulp-Fiction.jpg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/logo_pb_white_gold.svg", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/11/Bardo-Interview.png?w=270&h=150&crop=1", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/11/image-3.png?w=270&h=150&crop=1", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/11/Black-Adam-Interview.jpg?w=270&h=150&crop=1", "https://www.premiumbeat.com/blog/wp-content/uploads/2022/10/Barbarian-Interview.png?w=270&h=150&crop=1", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/email-bg.webp", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/mastercard_inline.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/visa.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/amex.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/paypal.svg", "https://vip-go.premiumbeat.com/wp-content/themes/thebeatcom/images/medium_check.svg" ]	[]	[]	[ "" ]	null	[ "Jourdan Aldredge", "www.facebook.com", "jourdan.aldredge" ]	2022-08-29T16:27:00+00:00	Let’s look at genre theory, what it entails, and how to utilize film genres with a bit more practicality and creativity in your own projects.	en	https://www.premiumbeat.…_icon-1.png?w=32	The Beat: A Blog by PremiumBeat	https://www.premiumbeat.com/blog/guide-to-basic-film-genres/	Let’s look at genre theory, what it entails, and how to utilize genres with a bit more practicality and creativity in your own projects. One of the few rare things that one can actually learn in film school is the simple trick of taking a step back to view something you already know—through a new, academic lens. As filmmakers and film fans, we already know about film genres. It wasn’t until one of the first film theory classes I took that I actually learned how to view, deconstruct, and understand something as seemingly innate as genre. Understanding “genre theory” is both very simple and very complex. In general, we all know the basics. The Hobbit is a fantasy book. Star Trek is a sci-fi television show. When Harry Met Sally is a rom-com. So, what do all those genre names actually mean? And, what exactly are the writers, filmmakers, and storytellers really doing to work within and against these modes? Here’s a brief introduction into how filmmakers can understand and use “genre theory.” What Are Film Genres? Taking the word at its definition, genre is the “term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audio or visual, based on some set of stylistic criteria.” The term dates back to ancient Greek literature. But, for writers, artists, and filmmakers, it’s usually the simplest, most practical way to categorize different styles of stories and content. We see genres while scrolling through Netflix, giving us a rough idea of what the stories are like. It’s important to understand, though, that what we consider film genres today are, more often than not, hardly pure film genres, as they were in the early days of film. The majority of content produced in the last several decades often includes genre hybrids, using the rules of genre theory to produce new, unique, and different stories. The Basic Film Genres In the early days of cinema, genres were much more uniform and defined. Just as they were in literature and other forms of art and entertainment, people would go to the theater to watch a war film, a musical, or a comedy. The basic genres were well defined and included some of the following: Action Comedy Drama Fantasy Horror Mystery Romance Thriller Western From there, you could dive a bit deeper. Sub-genres gave names and classifications to certain types of films within each genre. The “thriller” genre, for example, had the following sub-genres: Crime thriller Disaster thriller Psychological thriller Techno thriller However, before we go over how to mix and match film genres, let’s go over some of the biggest and most notable. The Action Film Genre One of the earliest film genres, the action genre, has close ties to classic strife and struggle narratives that you find across all manner of art and literature. With some of the earliest examples dating back to everything from historical war epics to some basic portrayals of dastardly train robberies, action films have been popular with cinema audiences since the very beginning. It’s also one of our best examples of the evolution of our cinematic hero’s journey and the classic hero vs. villain narratives, which you’ll find across all genres. Some of the main sub-genres include the following: War and military action Spy and espionage action Martial arts action Western shoot ‘em up action Action hybrid genres You can read more about the evolution of the action genre, its many sub-genres and examples, and some tips for creating modern action films in our full action genre breakdown. The Comedy Film Genre A favorite genre of film audiences young and old since the very beginning of cinema, the comedy genre has been a fun-loving, sophisticated, and innovative genre that’s delighted viewers. Some of the biggest names in the history of filmmaking include comedy genre pioneers—like Buster Keaton, Charlie Chaplin, and Lucille Ball—who made successful careers out of finding new and unique ways to make audiences laugh. The comedy genre has also been one of the most flexible, as its roots have made their way into the very fabric of cinema and its many other genres. The art of warming a heart and bringing a smile to a viewer’s face will never get old, nor should we consider it anything but truly powerful. Some of the main sub-genres include the following: Slapstick comedy Screwball comedy Parody comedy Black comedy You can explore the comedy genre in-depth in our full comedy genre breakdown. The Horror Film Genre While the horror genre is sometimes considered a younger film genre, elements of horror have long been a bedrock of classic cinema, dating back to some of the earliest—and eeriest—days of filmmaking. Examples like 1898’s Shinin No Sosei (Resurrection of a Corpse) come to mind, as well as several early horror iterations across the globe that captured the imagination of an audience hungry for creepy, occult fun. Taking cues from classic horror literature, big name horror franchises (of sorts) like Dracula and Frankenstein have existed within cinema for decades. However, it’s in the rise of newer horror genres featuring zombies, slashers, found footage, and haunted dolls that horror has really found its hold, from the 1970s into modern times. Some of the main sub-genres include: Zombie horror Folk horror Body Horror Found footage Horror If you’d like to explore a great deal more about the origins and modern portrayals of the horror film genre, check out our full horror genre breakdown. The Sci-Fi Film Genre Science fiction is one of the most innovative of the cinematic super-genres. As far back as the Renaissance and the Enlightenment period, the development of what we call science today began influencing art and culture. It took it a while to fully integrate, and by the time the cinematic arts rolled around, audiences everywhere were ready to add “science fiction” to the types of genres they wanted to see. Science fiction films are ostensibly about the future, when we’ve developed the technology to travel between stars, travel back in time, or pull off other technological marvels. Of course, though, that notion is just an affectation. Science fiction stories take the social, cultural, political, and technological issues that we’re facing today and project them into a fictional future, where we can get a good look at them. Fear, awe, excitement, and hope are all hallmarks of the science fiction genre, which does a great job of showing its audiences what they aren’t noticing about their lives right now. There are many sub-genres of science fiction, including the following: Science fantasy Cyberpunk Space Opera For a full write-up on the history and development of science fiction films (and how to make one of your own), see our filmmaker’s guide to science fiction. The Western Film Genre The Western is rich film tradition that has its roots in the American fascination with its Western frontier. These stories have their roots in the period of American expansionism, when fantasies of the “untamed” West thrilled Americans living in ever-expanding cities along the eastern seaboard. Tales of grit, honor, bravery, and “justice” turned this misunderstood territory (already fully inhabited by Native Americans) into a myth of manifest destiny and the idea that Americans should conquer it simply because it’s there. Full of melodramatic conflicts, simplistic systems of morality, and the idea of taming the wild, the Western introduced film fans to a new type of experience—the terrain itself was a type of character. It could challenge the heroes, boggle the mind, conceal hidden dangers, and otherwise present itself as a force to be reckoned with. Not surprisingly, the Western film had to evolve in order to keep up with developing ideas about social equity, brutality against native peoples, and the disappearance of “untamed” territory, so there are a number of Western sub-genres, including the following: Spaghetti Westerns Space Westerns Singing cowboy Westerns Comedy Westerns Neo-westerns Acid Westerns Meat Pie Westerns Charro Westerns Dacoit Westerns Documentary Westerns For a full exploration of the history and development of the Western—and what you need to know to make your own—see our field guide to the Western. The Romance Film Genre Ah, what would the great cinema tradition be if it weren’t for the countless stories of love and courtship. Since the advent of the movie theater experience, cinema has long been a favored pastime for couples looking to escape into a world of romance. Similar to the action and comedy genres, the romance genre has become a central force in pretty much every other film genre under the sun. (Try to think of the last mainstream blockbuster you went to that didn’t have a love story at its core.) Still, even as early cinema was filled with classic romance examples and many hybridizations like the “rom-com,” the genre has certainly shifted over the years. Nonetheless, it remains a hugely significant genre for filmmakers and film fans alike. Some of the main sub-genres include: Historical Romance Romantic Drama Romantic Comedy Chick Flick Paranormal Romance For more information into how the romance film genre has shaped the history of cinema, check out our full romance genre breakdown. The Thriller Film Genre Once a stylized niche genre, the thriller film has gone so mainstream that it might be time to change the genre’s name to Summer Blockbuster Event. The thriller’s rise coincides with the rise of the spy and detective pulp novels of the 1960s and 1970s. It’s been one of the best cinematic vehicles for exploring the sometimes upsetting and underrepresented truths about our governments and society at large. Owing some of its biggest successes to famous filmmakers like Alfred Hitchcock, and including some of our favorite characters like James Bond, the thriller has become a popular and important part of the cinema tradition. Some of the main sub-genres include: Conspiracy Thriller Crime Thriller Legal Thriller Spy Thriller Supernatural Thriller If you’d like to look deeper into the thriller genre, its development, and the many ways you can subvert its sub-genres for your own projects, read our full thriller genre breakdown. The Fantasy Film Genre There are a number of ways to define the fantasy film genre, but perhaps the simplest is the inclusion of magic. In a fantasy film, there is usually a system for performing superhuman feats, be it by casting spells, using magic items, or some other means. Fantasy has been a part of cinematic history since its earliest days, beginning in 1896 with Alice Guy‘s “The Cabbage Fairy.” Fantasy stories themselves go back even further than that—The Epic of Gilgamesh is one of humanity’s oldest fantasy stories, dating back roughly 4,000 years. There are several different sub-genres we can use to classify fantasy films: High fantasy Urban fantasy Sword and sorcery Dark fantasy Magical realism Portal fantasy Superhero fantasy For a more detailed look at these sub-genres, check out our guide on all things fantasy. The Apocalypse Film Genre The apocalypse film is another popular genre. On the surface, these movies are simply about the end of the world. Typically, there’s a natural disaster (or several), a looming astronomical threat, a rampaging monster, or a nuclear holocaust taking center stage. Surviving the deluge of special effects is the name of the game, and the budgets for these blockbusters are usually huge. However, there’s more nuance to this seemingly destructive genre than you might think. The apocalypse is usually a metaphor of some kind. It divides families, it rolls back social progress, it reveals the fragility of human life—there are any number of things the apocalypse can be doing that we usually attribute to something else, like broken marriages, politics, or famine. The most popular apocalypse films use this metaphor to their advantage, and we get to watch the protagonists overcome not only the pending global threat, but the threats to their home, family, and personal lives that they had been ignoring. There are several sub-genres of the apocalypse film: Monster apocalypse Zombie apocalypse Invasion apocalypse Natural disaster Nuclear apocalypse For more on this oft-misunderstood genre (and its sub-genres), check out “The Filmmaker’s Guide to the Apocalypse.” The Martial Arts Film Genre When you think of the martial arts film genre, you think of fights, and these films have left an indelible mark on the cinema. Many genres today rely on heavily choreographed fight scenes developed over months. We can thank the martial arts film, and Bruce’s Lee’s innovation of hiring actual martial artists, for these crowd-favorite fight scenes. While it’s easy to think the martial arts film as simply about fighting, that would be an oversimplification. The martial arts film folds combat into its narratives, and it uses this conflict to tell stories that we don’t otherwise see in our favorite film genres. Every martial arts fight implies years of training, dedication, and work that the characters went through to prepare for exactly this moment. There is an intersection of lives and traditions that unfolds in a matter of seconds. The martial arts film genre includes several sub-genres: The Kung Fu film The Wuxia film Karate films Action-comedy For more on these different traditions and how they have shaped the martial arts film genre, check out “The Life and Times of the Kung Fu Film.” The Sports Film Genre If the martial arts film genre captures our fascination with combat, then the sports film captures our fascination with competition. We love a good underdog story, and the best sports films take us on a journey that charts a winner’s unlikely beginnings through the tremendous challenges they must overcome to become the best. Viewers will watch competitions of all kinds, from championship football matches to hot dog eating contests to how long people can stand and maintain contact with an automobile. The stories in sports movies are often familiar—a champion prevails. But we like watching them over and over because they offer a thrill that we can’t find in any other genre. Here are just a few of the sub-genres of sports films we all know and love—be sure to read our write-up on each one: Boxing films Hockey films Golf films Football films Baseball films Basketball films How to Use Film Genres As the art of film evolved, more and more genres developed as filmmakers moved towards finding new and creative ways to subvert and combine them. Concepts like the “rom-com” appeared, combining the traditional genre elements of romance films and comedy films. Newer, more niche genres like the “road movie” and “disaster film” popped up alongside hybrid genres like “buddy cop” and “sci-fi western.” By examining and mashing up genre theory, filmmakers have unlocked and combined different elements from disparate genres to create legendary results—like George Lucas’s Star Wars, which combines science fiction, samurai, western, and war genres, to name a few. Some take it further—Quentin Tarantino’s Pulp Fiction glides between genres chapter by chapter. Genre theory is still very much a part of how we view and create films. However, genres are also in the process of being completely radicalized. It’s up to you to not just consume, but also strive to understand what other movies are doing. Then, apply your own research and inclinations toward the genres you choose to work with in your projects. For more genre theory and filmmaking tips and tricks, check out these articles: 7 Filmmaking Insights from Modern Film and Television Filmmaking Challenge: How to Create Foley for Stock Footage How “The Mandalorian” Got Feature Film Effects on a TV Budget The 2010s: The Biggest Filmmaking Moments of the Decade Roundup: Genre Filmmaking Tips and Tricks from the Filmmakers of Fantastic Fest
6282	dbpedia	2	5	https://www.tcm.com/tcmdb/title/563926/the-secret-of-the-whistler/	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	http://prod.tcm.com/unavailable/	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
6282	dbpedia	3	34	https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/2-what-is-genre-and-how-is-it-determined/	en	2. What Is Genre and How Is It Determined? – Exploring Movie Construction and Production	https://milnepublishing.…avicon-32x32.png	https://milnepublishing.…avicon-32x32.png	[ "https://milnepublishing.geneseo.edu/app/uploads/2021/02/cropped-Artboard-1.png", "https://milnepublishing.geneseo.edu/app/themes/pressbooks-book/packages/buckram/assets/images/cc-by-nc-sa.svg", "https://milnepublishing.geneseo.edu/app/themes/pressbooks-book/assets/images/yt_icon_mono_dark.png" ]	[]	[]	[ "" ]	null	[ "John Reich" ]	2017-07-11T00:00:00		en	https://milnepublishing.…e-touch-icon.png		https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/chapter/2-what-is-genre-and-how-is-it-determined/	Webster’s Encyclopedic Unabridged Dictionary of the English Language defines genre as “a category of artistic, musical, or literary composition characterized by a particular style, form, or content.” In other words, genre categorizes movies. Categorizing movies makes it easier for the viewer to discover what he or she likes and will want to see. Putting a movie into a particular genre or category does not diminish the quality of the movie by assuming that if it can be put into a genre, the movie is ordinary and lacks originality and creativity. Genre consists of four elements or parts: character, story, plot and setting. An equation for remembering the genre is: Story (Action) + Plot + Character + Setting = Genre. This becomes an easy way to remember the elements of a genre. The above elements of story, plot, setting, and character equal a specific category of movie. These elements are discussed regarding how their variations create a different category of movie. Some genres may be as general as comedy but do not have sub-genres like comedy. The sub-genres of comedy differ from one another based on the fluctuations of the characters and the story. Other genres are crime, war, Westerns, spy, adventure, science fiction, horror, fantasy, biography, and mystery. This is why this chapter is longer than the others because of the discussion of these variations. Drama can be considered a genre, even though some critics do not consider it a genre because it is too general. If the movie elements are serious and cannot fit into a more limited genre, then it can be considered a drama. Categorizing a movie indirectly assists in shaping the characters and the story of the movie. The shaping determines the plot and best setting to use. Movies often have genres that overlap, such as adventure in a spy movie, or crime in a science fiction movie. But one genre is predominant. Other movie labels cannot be considered genres. Film noir, thrillers, and action movies are not actually genres but a director’s style, which will be discussed in a later chapter. They are considered director’s style because their characteristics include cinematography and editing, which are not among the four elements that make up a genre. These labels reflect or accentuate the movie genre rather than defining the genre. Likewise, musicals and animation are not considered genres but rather “treatments” as to how a particular movie genre is told, even though people, over generations, refer to these types of movies as genres. You have to be very specific in the discussion of movie terminology, sticking within the particular definition of the terms. Some people will say that genres are labels that are given to stock movies, stating that these movies are routine. Being labeled in a genre is not a negative action. Movies have their own personalities. Each movie is different. Having a movie labeled in a genre assists people to find a particular movie that they may be interested in watching. Many people like a specific genre or two and will only watch movies in those genres. What People Like the Most about a Movie People will state that a particular movie had a good plot or an intriguing story. What people are actually referring to is that they enjoyed the characters, the problems/conflict the characters got into, and how the characters got out of the problems and conflict. People love a movie because they like to watch characters/people. How many people do you know who like to go to the mall, plaza, or beach and state that they like to people watch? How many people are nosey neighbors because they like to watch what is going on with the people around them? People may like to watch crime movies or Westerns. They like characters within this particular type of story because of the amount of action or the time period setting. People may like Westerns because they wish they lived in the 19th century because it was considered a simpler time. Let the Genres Begin We will begin to discuss the different genres, and even the sub-genres, for certain genre types. I will give a hypothetical example of each so you will begin to see how different genres are formed. Keep in mind with movie genre, it is the characters that make the movie, and this term is obvious enough that no explanation is needed. The story is the situation that the characters are in and try to get out of, accomplish, conquer, or overcome. The story has a beginning, middle, and end. More discussion about those will be given in Chapter Three. The plot is the outline or how the story is told. Remember when people state that they did not like the plot? What they are referring to is that they did not like the story. I will be referring to this concept over and over again throughout the book. There are only a limited number of plots as the plot is a general outline for a story, like revenge. A particular plot describes how a story will begin, develop, and end. This type of story will have a different format than a plot such as man against nature or man versus the government. In addition, as we progress through genres, we want to examine how the genre elements change. You will be able to see that the background and actions of the characters change as the type of stories are different. The setting is dependent upon the story, but the plot remains the same. I want to stress that we are going through the different genres so character and story development can be seen for each of the genres rather than just giving a general overview of the term genre. I want you to see how only certain elements are contained in a genre, and other elements outside of character, story, plot, and setting are not part of determining a genre. Comedy Genre We begin by discussing one of the most popular, general, and complicated genres—comedy. The Merriam-Webster Dictionary defines comedy simply as “a play, movie, television program, novel, etc., that is meant to make people laugh.” We will discuss comedy in a little more detail than that. Everybody likes a comedy because everybody likes to laugh and feel good. People like to watch a comedy after a bad day, because once the movie has ended, you can deal with the negativity of the day easier. This is why even horrendous comedy movies can end up making a profit. The characters and story for a comedy hinge on three areas: the unexpected, the unusual, and repetition. These three areas will generally make people laugh. Generally, a comedy will have a happy ending. Even though some people will deny it, everybody likes a happy ending because it makes them feel good. This is why comedies are so popular. The complicated part of the comedy genre is that there are different types or sub-genres of comedy; depending upon how outrageous and impossible the characters and story are in the movie. Keep in mind that the plot is general, and the setting can be set in any time or any place. We will discuss the comedy genre in terms of the different sub-genres of comedies and how the characters and story vary per sub-genre. Comedies run a gamut, ranging from very physical to nonsensical to subtle to dark. We will discuss the sub-genres in that order, using the same hypothetical example but varying it to show how the different comedy sub-genres will change the characters’ personalities and actions and the story. The sub-genres of comedy are slapstick, farce, satire, and dark. Any other genres are a variation of these four types. Comedy is actually a variation of physical action and ridicule. The only exception is screwball comedy. Screwball comedy has many different traits that are outside of a genre. Screwball comedy, because it existed during the Great Depression, contains class conflict between the middle and lower classes and the upper class, along with other peculiarities that only existed during that time period. Finally, “chick flicks” are generally comedy movies that star women. The Urban Dictionary defines chick flicks as “A film that indulges in the hopes and dreams of women and/or girls and has a happy, fuzzy, ridiculously unrealistic ending.” No doubt the concept of chick flicks goes back to what was previously mentioned; people like a particular type of movie because of the characters in the movie. Slapstick Comedy The Merriam-Webster Dictionary defines slapstick as comedy that involves physical action (such as falling down or hitting people). Slapstick comedy, because of the physical action, which becomes extreme at times, has unrealistic characters in an unbelievable story or possibly a story linked together by episodes of the main character’s/protagonist’s life. The plot is an inner conflict that builds and ends with these various comedic episodes. The setting can be any time or place that best exemplifies the comic antics that the characters go through. Let’s take a look at an example that demonstrates these elements. Jack is down on his luck. He helps a girl, Suzie, whose car broke down near where Jack works. He helps her, and then she leaves, but he cannot get her out of his mind. Then he sees her in one of his classes. He is afraid to talk to her though. Every time he tries to go up to her, he either stumbles and falls or gets involved with helping someone with disastrous consequences. The last time someone asked him to hold onto one of the ropes of the theatre rigging system where the backdrops were attached, too many stage weights attached to the rigging resulted in Jack flying into the air because he did not let go of the rope. As luck always has it in a slapstick comedy, Suzie is still driving the old broken down car. She breaks down again in almost the same locations as last time. Jack swallowed what little pride he had left, and went to help her. He got her car started, but she did not drive away immediately after getting it fixed but stayed to talk to Jack. They talk, kiss, and accidentally turn the outside sprinkler system on, getting soaking wet in the romantic conclusion. From this example, you can see that slapstick comedy is all about the characters and the episodic situations that they get into, resulting in physical comedy. The plot is inner conflict where Jack, the protagonist, wants to turn his life around. This then becomes the story. The story has a climax between Jack and Suzie. The setting is a college campus. Farce The Merriam-Webster Dictionary defines farce as “a funny play or movie about ridiculous situations and events.” Plot has more prominence in farce than in slapstick because there is a satirical story. In other words, the story concerns a topic that is ridiculed in an extreme way. We can adjust the last example quite easily to demonstrate this. Jack and Suzie are college students, and Alec is a well-known actor coming to the campus to play a role in the theatrical production at the college. This event has been arranged so the college theatre department can make money. Jack takes a dislike to Alec, but Suzie finds him fascinating. Alec finds himself fascinating. Slapstick is shown by the over-the-top acting that Alec does. Jack has a difficult time wondering why Alec is famous. Suzie soon finds disenchantment with Alec because he is only concerned about himself. Jack and Suzie and the other theatre majors decide to take the actions of the play to the extreme to humiliate and humble Alec. In a water scene, where Alec is supposed to pantomime having water thrown on him, real water is used. This drives Alec into a hysterical rage, and he chases Jack and Suzie on stage, off the stage, around the theatre, and out the theatre doors. Alec winds up accidently knocking himself unconscious. Jack states that the most natural acting that Alec has done is being knocked out. Next, Jack develops a hair-brained scheme so the theatre department can make money. Jack and Suzie make a list of the wealthiest men and women in the area. They invite as many of these wealthy people in the area to participate in an auction. There will be five male winners and five female winners. The prize is that they win Jack and Suzie for a day to act as their slaves. You can see that a farce has more of a story than slapstick comedy. The plot has an inner conflict of the protagonists, Jack and Suzie, needing money. This creates a story where college theatre students try outrageous ways to make money to save the theatre department. The story ridicules colleges, actors, and theatres in general. The actions of the characters are very slapstick with physical comedy throughout the movie. Satire The Merriam-Webster Dictionary defines satire as “a way of using humor to show that someone or something is foolish, weak, bad, etc.: humor that shows the weaknesses or bad qualities of a person, government, society, etc.” Satire is subtler than farce or slapstick in the actions of the characters. The plot develops an inner conflict, but the story is more realistic and may, at times, not even appear to be a comedy. In this example, the setting can remain as a college campus. Jack and Suzie, once again, are college students. Alec, though, is the instructor, who has a drinking problem, and he is directing a class that Jack and Suzie have to take as a requirement of their theatre major. Alec tries to convince the students that there is no right or wrong way to direct, act, or design. In his mind, theatre is all done with emotion. If it feels right, then do it. In order to help them understand and develop their talents as directors, Alec gives the same answer to any question Jack and Suzie ask: “If it feels right, then do it.” Jack struggles to try and comprehend what Alec’s statement means. He does not understand why he has to go through four years of college if he just has to recognize what feels right. Jack asks Alec for more of a discussion on what feels right. Alec then tells him, “You’ll know.” This frustrates Jack even more because it does not take four years in college to put to use nine words that do not mean anything specific in regard to studying theatre. He questions the college administration as to why they are paying so much for Alec. The college administration retorts that Alec is one of the best in his field. Jack states that Alec teaches absolutely nothing of any value. The administration states, “That shows how good he is; you do not even realize the education you are receiving.” Defeated, Jack goes to see Suzie, his last hope. Suzie tells him not to be too quick to judge. Suzie states that she believes she understands what Alec is driving at with his ideas. Suzie tries to demonstrate the statements that Alec has mentioned. After a few hours Suzie becomes frustrated and states the both of them must go to see Alec. After two hours with Alec, Jack and Suzie are delirious. Being delirious, they finally fathom what Alec means. They both run out of Alec’s house and down the street shouting, “We have identified what it is!” From this discussion of the characters and story, physical actions do not enter as a predominant element that they do in straight slapstick or farce. The satire is an obvious ridicule of theatre as a major and the type of people in theatre. A more subtle satire would be Jack and Suzie acting as a clique and by being prima donnas. They mock a new theatre major, Alec, who wants to do a good job. Alec starts to develop his talent under strenuous and often humorous situations with consequences to the amazement of Jack and Suzie. But then he realizes what he has to give up for it. He quits for his own self-respect. The above are two demonstrations of satire. The first example, depending on the treatment, could become either a farce, if Jack’s, Suzie’s, or Alec’s actions become too outrageous, exaggerated, and over-the-top, or it could become a satire. The line of demarcation between farce and satire are, as with anything that is analytical, left up to an individual’s judgment. When does extreme satire become farce? A good way to judge farce or satire is how much unrealistic physical comedy is in the movie. Dark Comedy or Black Comedy Dictionary.com defines dark humor or black comedy as “in literature and drama, combining the morbid and grotesque with humor and farce to give a disturbing effect and convey the absurdity and cruelty of life.” Dark humor and black comedy are terms that make fun of or ridicule taboo topics like death. The characters are involved in a story that goes to the point of being grotesque and not being funny. With this example of a college theatre as the setting, and the plot being the inner conflict of the main character, how can the characters and story become absurd, morbid, and grotesque when discussing the taboo topic of death? Quite easily actually! Insecure about his acting ability and visibly showing this in public auditions, Jack does not obtain the role on stage that he desires, Henry V or “Hank 5,” which is Jack’s nickname for him. In order to relieve himself of his frustrations, Jack tortures and kills everyone who receives this part in the most brutally visual ways imaginable. He does this in hopes of eventually receiving this specific coveted role. Jack, though, is the only one who believes this role is so desirable and sought after. Jack kills the first person who is given the role, Alec, by drawing and quartering him before he hangs him. The second person to be given the role is Suzie, which really angers and infuriates Jack that a woman would get the role before him. This action adds absurdity to the story. This is a dark humor movie rather than a serious movie because of the reasons, background, and extreme actions in the story. The characters act realistically based on their personalities, which are all unusual. The physical action is real so this scenario cannot be considered slapstick. Screwball Comedy This comedy sub-genre is named after a baseball pitch, the screwball, which was perfected by baseball pitcher Carl Hubbell in the 1930s. Screwball comedy only lasted from 1934, when the Great Depression was in full swing, to 1941, when World War II began. Screwball comedy was based on reverse class snobbery where it is more noble to be poor than rich. The rich were portrayed as eccentric and wasteful fools. Romance is one of the key elements of screwball comedy. With the two classes of upper and lower or middle class working together, screwball comedies can be considered as recommending socialism. The story is a little different, but overall, it can be considered within the realm of satire because the current society was being ridiculed. Screwball comedy also had the following attributes: The poor and middle class would go to the movies to see the rich get their comeuppance. This is why movies were one of the few industries of the period that made a profit. People felt a passion of hate toward the upper class because of the mess lower classes assumed the upper class made of the economy. Many of the most famous movie stars of the period appeared in screwball comedies. People went to the movies to see the elegant clothes, cars, and furniture, so they could wish they had those items. Any referral to a movie as a screwball comedy after 1941 is inaccurate, even if it is a re-make of a movie released during the 1934-1941 period. A re-make does not have the same relevancy, power, or passion as the original movie. A contemporary screwball-type comedy generally is fast paced with an eccentric character, but it does not have the class snobbery. Any class snobbery in the movie does not have the contemptable hatred toward the upper class as it did these movies during the Great Depression. The emotional rage cannot be duplicated. Romantic Comedy Dictionary.com defines romantic comedy as “a light and humorous movie, play, etc., whose central plot is a happy love story.” Romantic comedy is contained in most comedies as a sub-story, such as The Front Page, which has an underlying romantic story of Hildy wanting to marry his fiancée and leave newspaper reporting. However, the overriding story of the movie concerns reporters and editors doing anything in order to get the story. Comic romance is a big element in screwball comedy also, but other story lines are more dominant. Can you think of a movie that has the primary story line as being a romantic relationship? If you can, how did you like the movie? Comedy Conclusion Comedy is varied and complex. You can see how the stories, along with the personalities and actions of the characters, change, developing different sub-genres of the comedy being expressed. All comedy stems from either slapstick or satire. Let’s move on to a new genre. Crime Genre Staying with the letter “C,” let’s move on to the crime genre. The Merriam-Webster Dictionary defines crime as “an act or the commission of an act that is forbidden or the omission of a duty that is commanded by a public law and that makes the offender liable to punishment by that law” or more simply “a grave offense especially against morality.” The definition gives us a lot to work with, so we will do our best to bring it into focus. The first point is that every aspect of the crime genre is dramatic, so the elements are quite different than a comedy. The setting for crime genre can be any location in the world and any year, because crime is something that has always existed in society. We will try to narrow this down for our example. The plot is an inner conflict for the criminal to succeed or for the “good guy” to succeed. The story is a series of developing incidents where the criminal or the “good guy” is the protagonist and a conflict has to be overcome. The characters develop from the story and plot. Let’s demonstrate two examples with Jack being the protagonist in both situations. In the first situation, Jack is a criminal and the second one Jack is the “good guy.” First situation: Jack is a nice, helpful individual at the beginning of the movie. He soon finds that he has to help a friend, Suzie, get out of a jam because she owes a lot of money to a gambling boss, Alec. Jack goes and begins to negotiate honestly in regard to paying Suzie’s debt. Alec laughs at him and is going to throw him out. Jack, even though he is a nice guy, has a very bad temper. This often is the situation in the crime genre. Jack becomes extremely angry with Alec laughing at him, and he kills Alec. Alec’s men come in and Jack tells them he is their new boss. The men don’t like it, but they reserve any action for a later time. Suzie likes the new Jack and wants to be his girl. Suzie is aroused by the violence in Jack and cannot keep her hands off him. Jack soon becomes more successful than Alec ever was, but he begins to become too egotistical. With his ego getting in the way, Jack makes a mistake when trying to take over a gambling casino. Jack is killed and the men kill Suzie. The most jealous, vindictive, right-hand man in the gang takes over the gambling empire. Stories in the crime genre are often about people seeking power. Usually, the criminals want control over the city where the story takes place. Generally, they want to be in charge of the drug trade, gambling, liquor (depending upon the year), or they want to rise up in the family or gang. There are always periods of violent action with the protagonist trying to reach his/her goal. Second situation: Jack is a police detective in a large city like New York City or Los Angeles. Jack is a hardworking, honest detective. He is dedicated to his job and his partner, Alec. Jack spends most of his free time with Alec and Alec’s family. Alec is murdered. Even though he wasn’t put on the case, because they were partners and friends, Jack spends his free time investigating who murdered Alec. During his investigation he meets Suzie. Suzie knew Alec and considered him a friend. Suzie asks if she can help with looking into the murder. Jack, after some convincing, agrees. Suzie and Jack start to become close during the investigation, and Jack falls in love with her. This is often a foreshadowing as to how the story is going to end. After a few dead ends and blocked paths in the investigation, Jack picks up some information that leads him down an unsuspected path. Jack finds that Suzie was a little more than a friend to Alec, so Suzie has an ulterior motive for assisting Jack. Jack discovers that Suzie murdered Alec and was going to kill Jack, too. Jack arrests Suzie for Alec’s murder. These are the elements and formats of the crime genre. The crime can be different than murder. Crimes encompass a wide variety of different actions. The main characters do not have to be crime bosses or police detectives, but they generally have a similar background. Very seldom do they lead a life like a factory worker or office employee. This is one reason why the crime genre is so popular. People want to watch characters that lead exciting lives different from theirs. The stories in the crime genre are similar to the aforementioned two examples where the crime is more than a speeding ticket and provides an interesting and exciting story. The plot can be an inner conflict, once again, of the protagonist, and the setting is usually in the United States or Europe in modern times. Western Genre Because of the similarities between the Western and crime genres, I have included back-to-back discussions of the two genres. The Merriam-Webster Dictionary defines Western simply as “of or relating to the American West.” Keeping this in mind, we will begin by discussing the setting. The setting provides the major difference between the crime genre and the Western genre. Instead of the characters and story occurring in the 1930s or the 1990s, the time for a Western is in the early to late 19th century or anytime through the 1820s to 1890s. Once the 20th century arrives, except for the beginning years, the feeling of the Old West is gone, which brings up the other aspect of the setting that defines the Western genre. The Western genre takes place in the West. Depending upon the year, the West could be Ohio in the 1820s, Missouri in the 1850s, or Nevada in the 1880s. The main character or protagonist is an individualist, who rides into town for a specific reason, or he may run into trouble while in town, or he may be hired to do something like blaze a trail West. The characters and the stories are straightforward. The interest is the developing story and the action-filled problems that the protagonist faces as he tries to accomplish what he set out to do. The plot can still be one of inner conflict as the protagonist tries to accomplish the specific goal, quell the trouble in town, or overcome the obstacles of nature as the main character blazes the trail West. An example of the Western genre has Jack being the individualist, loner riding into town. He has come to town to avenge the death of his partner. Outside of the setting, the same type of character and story could be used in the crime genre. While Jack begins to ask questions about what happened to his partner, he falls into the middle of a range war; a typical Western story, between two ranches over the grazing rights of land. Alec owns the one ranch, and Suzie (a woman) owns the other, which is a rarity in the West. Jack gets to know Suzie as his inquiries continue. He begins a relationship with her. During the relationship, Jack gives Suzie a helping hand in the range war. Alec is totally evil, underhanded, and despicable in his actions. Westerns, even more contemporary ones, have an outright bad person like Alec. You can see this in crime genre movies also. Jack defeats Alec in the range war, and in the process, finds that Alec also killed Jack’s partner. In the Old West, there can only be one climax to the story. Jack and Alec shoot it out; Alec is killed, and Jack and Suzie fall in love. War Genre The Merriam-Webster Dictionary defines war as “a state or period of fighting between countries or groups.” With this definition being direct, we can discuss the genre in the same manner. The war genre is straightforward because the movie is very limited in its parameters. The setting and the year is very specific regarding the year and the location. If the movie takes place from the United States’ perspective, World War I would be from 1917 to 1918; World War II would be from 1941 to 1945; and the Korean Conflict, Vietnam War, Desert Storm, and other Middle East conflicts follow the same procedure. The locations would be an area where the war occurred or in the United States to concentrate on how the home front was coping. The plot is the inner conflict with dealing with war. The characters and story are based on a battle, trying to obtain overall victory at some point of the war, dealing with losing, dealing with death, dealing with fighting, being a prisoner, or coping at the home front or a location where the fighting is not taking place. World War II encompasses the war genre. Jack is a soldier, who is a married teacher with two children. He is drafted by the United States shortly after World War II started late in 1941. Jack was told by his wife, Suzie, not to volunteer for any extra missions so he could come home alive to his family when the war is over. Of course, this is not going to be true because a war movie has to have a daring mission. After being in Europe for about a year and losing many battles, Jack becomes frustrated because he knows the war is not going to end soon. Suzie dreads each day because of the emptiness in her life without Jack. To her, each day never appears to end. She is stressed because she has a continuous challenge to make ends meet. Jack and seven other men are given a chance to go on a dangerous mission to blow up a German stronghold and capture a high-ranking German officer. These men are asked to go on this mission because of their intelligence and personalities. If they succeed in this mission, the war will likely be over quicker than expected, because of the information they will receive from this German officer. Jack remembers that his wife told him never to volunteer, but he knows he only has once choice. He volunteers. Suzie gets a feeling of foreboding and is suddenly afraid something bad is going to happen. She starts to become distant to her friends and even her children. Jack goes on the mission. Everything is timed perfectly. The fortress is blown up and the German officer is captured. However, the trip back to the Allied lines did not go as planned. Half the men are killed, Jack is wounded, and the German officer is killed. Suzie’s feeling of foreboding becomes so great that, at one point, she passes out with anxiety. The Christmas holidays are near, and Suzie is persuaded to take the children to church. As the service begins, Jack walks into the church and joins Suzie and the children. The story ends happily, but with a cost. In order to give the story a more realistic feel, the protagonist is not totally successful with what he had set out to do. Spy Genre The Merriam-Webster Dictionary defines spy as “to watch secretly usually for hostile purposes” or “to search or look for intensively.” I want to give two short definitions to emphasize the spy genre because it is a combination of watching and searching, but I do not want it to get confused with the next genre of adventure. The spy genre sounds like it could cross over to the previous genres already discussed. But only the setting and the plot can be standard. The setting could be the same as the war, Western, or crime genres, but it does not make it a war, Western, or crime genre. You have to remember that the story makes the genre because it controls everything else. In the spy genre, the main character generally works under an assumed identity in order to find something or destroy something of harm controlled by a nemesis. As in past genres, the plot is the inner conflict of the protagonist. In this situation, he or she has a strong inner conflict to succeed at what he or she is assigned to act upon. Thus, if the movie has any of the aforementioned characteristics but takes place during World War II, the movie is primarily a spy movie rather than a war movie. Remember, the setting does not determine the genre but the story does. The story is interconnected to the characters and the plot. The setting helps add the must-needed background and specificity to the movie, but it is not as interconnected as the other three genres. In recent times, a male of the strong virile type plays the protagonist spy. So, we will demonstrate that this does not always have to be that way in a movie. We will take a woman, named Suzie, who is the spy protagonist. We will set the example during World War II. Unlike Jack in the war genre discussion, Suzie is chosen because of her background in languages and her photographic memory, giving her the ability to memorize lists of facts immediately. She is requested to go behind enemy lines as a civilian and obtain data that will debilitate the enemy thus giving the Allies the advantage and shortening the war by possibly years. In order to be able to do this, and to prepare her mentally for the task, she is set to train for three weeks with an Army officer named Jack. Jack is very skeptical that Suzie will be able to pull the task off. Jack states that it is not because she is a woman, but the movie viewers know that her being a woman is exactly the reason. Jack begins a rigorous training program just to say that he told her so. However, Suzie really masters everything Jack throws at her. After about a week, Jack sees this and starts to admire her strength and fortitude. Jack makes the training less rigorous because he only trains her to get behind enemy lines, get back to the Allied lines, and how to mentally survive torture. By the end of the three weeks, they begin to fall in love with each other, and Jack feels he should accompany her, but his command says that is impossible. The time has arrived for Suzie to go. The French underground has managed to get her a clerical job where she can do some travelling including going to Normandy. Rather abruptly, Suzie plans a trip to Normandy. She studies the land and is able to secretly catch a glimpse of German maps showing where their military strength is in and around Normandy. Suzie rushes and gets the information off to the Allies before she is captured by the Germans. The Allies receive Suzie’s information, but they cannot help Suzie. The Germans find her guilty of being a spy and she is executed. Can you see the difference between this example and the war genre example? Both have the same setting of World War II, but the spy genre example has a non-soldier searching for secret information, while the war genre had a group of soldiers going on a mission that was not secret. The war mission was behind enemy lines and in the war zone where the fighting was occurring. The spy genre does not occur in the war zone where there was fighting. Do you see the differences in the stories? The spy story has a lot less emotion and love between the main characters. The spy story has more suspense as Suzie is hunting for information. She is becoming involved in several tight situations where she barely misses getting caught by the Nazis. The war genre story has the one climatic battle that the whole conflict was moving toward. Most of the time these two genres do not become this similar but these two examples make it easier to see the differences in the two genres. Adventure Genre The Merriam-Webster Dictionary defines adventure as “an undertaking usually involving danger and unknown risks” that is “an exciting or remarkable experience.” From this definition, you can see that adventure is an action movie that overlaps with the spy genre with danger, risks, and excitement. Both the adventure and spy genres can have exotic settings. The stories are normally about a person or group of people searching for something. During the journey of searching, dangerous situations are overcome by the main characters. The protagonist may end up getting involved in fighting to overcome social or moral injustices in the exotic location where he or she has journeyed. The difference between this genre and the spy genre is, once again, the story. The spy genre has a story where something is searched for secretively, and the information itself contains secret information. This story has suspense based on timing and near misses. The adventure genre’s suspense is found in the action and the chance that the protagonist may get killed without the espionage. The protagonist is an adventurer rather than a government employee. Being bigger than life, the adventure genre contains a lot of explosive action throughout the movie. Remember that the story treatment, character background, and character development are big differentiations and distinctions that separate genres. The plot and the setting are also different between genres, and are reflective of the story and the types of characters. Science Fiction Genre Science fiction is linked to the previous genres of crime, Westerns, war, spy, and adventure by the basic theme. However, the genre elements are totally different. The Merriam-Webster Dictionary defines science fiction as “fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.” An example of science fiction is time travel, which has and is a popular topic. Quite often, science fiction has a setting that takes place in the future. In this way, if the producer wants to comment on a particular problem in current society, the producer can set the problem in the future. The producer appears critical about the problem but not about the current society. The outcome of that problem, if it continues, shows how the future will look. For science fiction, we can still stay with the plot of inner conflict, which can always be the plot, because a conflict is needed. The characters and the story can be the same as any other genre with variations, as we will demonstrate in the example. In our example, Jack and Suzie, along with several hundred other people, are fed up with the crime and violence that exists where they live. No specific location is mentioned, so it can be anywhere in the world or universe. In this movie, many of Jack and Suzies’ group are engineers who work endlessly to build several space ships that to travel to a new galaxy, away from the crime and chaos. Researchers in this group toil endlessly to find a new galaxy that is livable for humans. Together they all dream of pioneering and developing this new world so there is no violence and everyone can live in harmony. By seeing the people’s action of building space ships, the audience learns that the time is the future. The space ships are finally finished and they are sent off. They find and arrive in the new world that is named New Earth. The people set up a colony and draft laws so there is no anarchy. Everything is great for two generations. The people live in harmony and enjoy each day to the utmost. However, one day, someone is found dead and robbed. Everyone is left shocked. Because so much time has passed without violence, the police are unprepared. But they review the crime scene, and conclude that it was murder. Since they have never investigated a murder, they are unsure what should they do to find the murderer and how should they to go about doing it. They arrive at a procedure and find the murderer. The murder was an accident. The murderer was surprised as everyone else. The people realize a murder or accidental death can always happen, so the society has to be prepared and set up to handle it. Even though the story is fantastical in many ways, it can still make comments and raise questions about society and morality. Science fiction genre, like any genre, can cross over at some point or points to another genre. This example crossed over to the crime genre. However, to determine the main genre, review the story, characters, plot, and setting together. In this situation, these elements are most geared toward the science fiction genre. Fantasy Genre The Merriam-Webster Dictionary defines fantasy as “something that is produced by the imagination: an idea about doing something that is far removed from normal reality.” In other words, a fantasy movie has no limits. The setting could be anywhere at any time with characters who appear and act in any way the script writer wants. The story could be about anything. So let’s stick with one constant, the plot. The plot will be inner conflict. According to Wikipedia, fantasy stays away from scientific and macabre story aspects, so it does not become a piece of science fiction or horror. You can see how all three genres: science fiction, fantasy, and horror are similar but different. What would a fantasy example be like? A group of misfits are given a task by a wizard to find the perfect person. They must do this in order to save their friend, who is terminally ill and will die shortly. The wizard tells them that their friend is not terminally ill but under an evil spell that he can break. The perfect person is the wizard’s fee for breaking the spell. The characters are Jack, Suzie, and Alec, who are misfits because they are the outcasts from their home village, which is in a fictional country. The wizard gives them a clue to look where no one has looked or would think of looking. Jack, Suzie, and Alec think that the perfect place to find the perfect person is in a graveyard because nobody would think of looking there. But how would the perfect person appear in a graveyard? After searching through several cemeteries, they become frustrated because they find nothing unusual and do not know what the wizard was talking about. They finally find a cemetery where they can enter a new world that is built upon their imaginations. Using their imaginations mean, as they discuss a trait or physical appearance, they can build the person using their minds. What they imagine can become reality. Using their imaginations, they begin to discuss what the perfect person would look like and act. What would the person’s personality be like? They cannot decide because the traits that they imagined as a perfect person are foreign to them. Finally, they start talking about themselves, and what they like and do not like. After a lengthy conversation that continues for days, Suzie stands up and yells that she has the answer. She states they should make three lists of their best physical and mental traits. That will be the perfect person. The perfect person is within them as it is within all people. They compile the perfect person using their imaginations and take it to the wizard. Suzie explains to the wizard with the assistance of Jack and Alec that the perfect person was within them as it is within all people. The wizard states that they found the answer to the clue. As such, they are also able to break the spell over their friend. The spell is broken, and the four leave and live happily ever after. You are only limited by your imagination. A wonderful theme can come from any genre. Horror Genre The Merriam-Webster Dictionary defines horror as “the quality of something that causes feelings of fear, dread, and shock: the horrible or shocking quality or character of something.” A horror show is “something that is difficult to deal with or watch because it is so bad, unpleasant, etc.” The setting regarding where the movie takes place can be instrumental in a horror movie. Many times, horror movies take place in a historical area with big, old houses that hold many secrets. Secrets provide the basis of a story as the house is supposedly haunted because something gruesome happened there many years ago. However, the setting may not be unusual, but it can be a typical small town or city just like the one where you live. The plot, once again, is inner conflict. The main character, Suzie, inherits the house, and she is determined—to the point of becoming obsessed—to prove that there is no such thing as a haunted house. However, she takes her boyfriend, Jack, with her to the house. After they become frightened by unearthly occurrences in the house, Jack asks his friend, Alec, to join them at the house to find a solution to what is going on. Alec states that in order to make it a clean, healthy house again, they have to discover the problem and solve it. In order to do this, Alec recommends doing a séance. The three of them enter a room late in the evening and try to contact a spirit to identify the problem. They find, at one point, that the house was owned by a slave trader or human trafficker. Down in the basement, many bodies were buried. Suzie cannot stand thinking that a relative was a human trafficker and nothing can really be done to solve this problem. The house was owned by an evil man who is suffering in the spirit world because of his past actions. Jack thinks that the only cure to these past heinous actions is to burn the house down, which would cremate the bodies that were buried in the basement and possibly put them at peace. Suzie does not agree with that action, but Alec agrees with Jack in order to find a cure for the haunting. Possibly, after the burning, Suzie can build a different house. Suzie starts to act in an irrational manner, like she is becoming her past relative, who was the slaver. Alec and Jack burn the house. Suzie becomes completely enraged and has to be restrained until the house is completely burned down. Once the house has finished burning, Suzie no longer acts like she is possessed. The whole area becomes quiet. Suzie speculates that they just need drive away from it. The three of them drive away. The horror genre brings fear, and fear generally brings thrills and suspense. With a suspenseful scene, people like to scare themselves. The theme can always be “search for the truth,” rather than “do not be afraid of the unknown.” Drama Genre If a movie does not fit in one of the aforementioned genre categories, then it is a drama. The Merriam-Webster Dictionary defines drama as “a play, movie, television show, or radio show that is about a serious subject and is not meant to make the audience laugh” and “a composition in verse or prose intended to portray life or character or to tell a story usually involving conflicts and emotions through action and dialogue.” The four elements of the drama genre have to be serious, portray life, tell a story, and the characters have to have an inner conflict that brings out emotions at different times throughout the story. These are all points that we have been discussing with the other genres. The characters and the story are general, like everyday people and situations. Somebody is dying, something has to be obtained, or something has to be accomplished are the three common stories for dramas. Jack is an accomplished musician, who is going to be playing at Carnegie Hall, and he finds out that he has a fatal illness after passing out during a rehearsal. Or, Jack lived in the slums and a teacher noticed something in him that could be cultivated. Jack becomes a renowned doctor, scientist, or mathematician. The movie covers Jack’s obstacles to achieve what is necessary for him to being on the road toward a renowned career. Or, Suzie risks everything to find a cure for a disease that is killing many thousands of people on a Caribbean island. The viewer often knows what is going to happen but often the characters and their development is what makes a drama interesting. The story is relatively simple, the plot is inner conflict, and the setting is inconsequential because the characters make the movie. Did you find Cyrano de Bergerac to be a drama? Cyrano de Bergerac had a firm foundation in unrequited love, a very romantic element in the story. But Cyrano’s inner conflict of his feelings of inadequacies in his personal appearance, while being overconfident in other areas, present love in a dramatic genre. Action, Thriller, Suspense Thriller, Biography, Film Noir, Neo Noir, and Mystery Action, thriller, suspense-thriller, biography, film noir, neo noir, and mystery are terms that are often referred to as different genres. However, none of these are genres. They do not contain just the four basic elements of a genre—no matter how much people insist that they do. They contain the genre elements and other elements, like cinematography, that are not part of a genre. Writers, educators, critics, historians, and others have stated that the above terms developed into being named a genre and that they can be accepted as a genre over time. How many of you heard or read the terms action genre, film noir genre, or suspense thriller genre? Just because they have been referred to by these terms, over the years, does not make them honorary genres. These terms, by themselves, still have the same meaning even if they have been named genres. Most of these terms refer to specific cinematography when shooting the movie, or they refer to the way the movie was edited. Action, thrillers, and suspense thrillers all have similar types of action in them. Adventure, spy, crime, war, and Westerns could all be action movies or thrillers or suspense thrillers. Action, thrillers, and suspense thrillers do not touch upon the four elements that make up a genre. Film noir and neo noir are predominantly crime movies that have certain cinematography. They overlap both in the construction and production aspects of making a movie. Film noir means “black film.” Film noir has many scenes occurring at night with many gritty, seedy city shots. The character types in film noir are loners and schemers, but they are reflective of the types of characters in crime movies. Detour is a good example of film noir regarding the characters like Al and Vera. The voice-over narration of the protagonist describing the forward action, using black and white film, and many scenes occurring at night are examples of film noir. But voice-over narration, being in black and white, and a lot of the movie occurring at night does not determine the genre. The jaded characters, story, and plot of murder defines the movie as a member of the crime genre. The night scenes and voice-over narration are a directorial style. These decisions are characteristics that distinguish it as film noir. Neo noir is the new noir for the later 20th and 21st centuries when most movies are made in color. The genres could be crime, science fiction, or drama but the cinematography is dark, gritty, and symbolic, similar in many respects to film noir. Mystery refers to the way the story is shaped. Most mysteries are concerned with who stole something or who murdered someone. Most mysteries belong to the crime genre where the story and the editing keep the audience guessing until the final minutes of the movie. Biography refers to a nonfiction movie that is about a historical or living person. The background, character, and setting of the movie may determine what other genre a biography might belong to. If the person is a war hero, the movie would be of the war genre; if the person was a criminal or detective, the movie would fit the crime genre, and so forth. Documentary Documentary, according to Dictionary.com, refers to movies and television features based on or re-creating an actual event, era, life story, etc., that purports to be factually accurate and contains no fictional elements. Sheila Curran Bernard, author of Documentary Storytelling, defines documentaries as: Documentaries bring viewers into new worlds and experiences through the presentation of factual information about real people, places, and events, generally — but not always — portrayed through the use of actual images and artifacts. But factuality alone does not define documentary films; it’s what the filmmaker does with those factual elements, weaving them into an overall narrative that strives to be as compelling as it is truthful and is often greater than the sum of its parts. From these two definitions, documentaries are a separate movie entity that is unto itself. Final Thought We covered a lot of area in discussing different genres. Even though genres are only considered labels for movies, the four elements of a genre are the basis of any movie. Besides categorizing, genres indirectly shape the movie’s characters and story. Character, story, plot, and setting are how a movie is constructed. From this construction, the specific theme that is created by the screenwriter and the director can be realized and understood by the viewer. The other chapters in the construction of a movie go into more detail and dissect these elements in order for a better understanding of the scope of these elements and how the theme of the movie is realized. Further Viewing With the completion of this chapter, the movies to watch that that are excellent examples of different genres are:
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6282	dbpedia	0	36	https://cinesavant.com/reviews/columbia-noir-6-the-whistler/	en	Columbia Noir #6: The Whistler – CineSavant	https://cinesavant.com/w…ite-icon-red.png	https://cinesavant.com/w…ite-icon-red.png	[ "https://cinesavant.com/wp-content/uploads/2017/06/cinesavant-logo.png", "https://cinesavant.com/wp-content/uploads/2024/06/7131largwhis.png", "https://cinesavant.com/wp-content/uploads/2017/06/savant5.gif", "https://cinesavant.com/wp-content/uploads/2017/09/e-mail.jpg", "https://cinesavant.com/wp-content/uploads/2024/08/7172goin.png", "https://cinesavant.com/wp-content/uploads/2024/08/7171shan.png", "https://cinesavant.com/wp-content/uploads/2024/07/7163joe.png", "https://cinesavant.com/wp-content/uploads/2024/08/7170empe.png", "https://cinesavant.com/wp-content/uploads/2024/07/7164samo.png", "https://cinesavant.com/wp-content/uploads/2024/07/7169she.png", "https://cinesavant.com/wp-content/uploads/2024/07/7155largmacb.png", "https://cinesavant.com/wp-content/uploads/2024/07/7168anse.png", "https://cinesavant.com/wp-content/uploads/2024/07/7166bwan.png", "https://cinesavant.com/wp-content/uploads/2024/07/7167chas.png", "https://cinesavant.com/wp-content/uploads/2024/07/7158garr.png", "https://cinesavant.com/wp-content/uploads/2024/07/7165rept1.png", "https://cinesavant.com/wp-content/uploads/2024/07/7162gigo.png", "https://cinesavant.com/wp-content/uploads/2024/07/7161coll.png", "https://cinesavant.com/wp-content/uploads/2024/07/7160noir.png", "https://cinesavant.com/wp-content/uploads/2024/07/7157inva.png", "https://cinesavant.com/wp-content/uploads/2024/07/7159rock.png", "https://cinesavant.com/wp-content/uploads/2024/06/7156viol.png", "https://cinesavant.com/wp-content/uploads/2024/06/7154leedeat1.png", "https://cinesavant.com/wp-content/uploads/2024/06/7153kiss.png", "https://cinesavant.com/wp-content/uploads/2017/06/ofcs.gif", "https://cinesavant.com/wp-content/uploads/2017/09/reviewindex__0000_A-E.png", "https://cinesavant.com/wp-content/uploads/2017/09/reviewindex__0001_F-M.png", "https://cinesavant.com/wp-content/uploads/2017/09/reviewindex__0002_N-Z.png", "https://cinesavant.com/wp-content/uploads/2017/09/savantbookad.jpeg" ]	[]	[]	[ "" ]	null	[]	null		en	https://cinesavant.com/w…ant-app_icon.png		https://cinesavant.com/reviews/columbia-noir-6-the-whistler/	Columbia Noir #6: The Whistler Powerhouse Indicator Blu-ray
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"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:133-9677050-1155565:3V29BPFMSABZ8KBE0T36$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3D3V29BPFMSABZ8KBE0T36:0" ]	[]	[]	[ "" ]	null	[ "The-Social-Introvert" ]	null	A mystery film usually revolves around the solving of an unexplained event, with bits of information which give clarity into said event gradually revealed over its course. The climax of a mystery, in most cases, delivers a huge revelation or plot twist, sometimes causing the audience to question nearly everything which was said or established earlier in the movie. There have been many twisty and shocking mystery films over the decades, with some of the greatest directors being the brain behind them. Which of these mystery film-makers do you consider to the best at their craft ? Discuss this list here !		https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/poll/VRIhNvPO1hY/results	◄ IMDb Polls Poll: Greatest Mystery Film Director A mystery film usually revolves around the solving of an unexplained event, with bits of information which give clarity into said event gradually revealed over its course. The climax of a mystery, in most cases, delivers a huge revelation or plot twist, sometimes causing the audience to question nearly everything which was said or established earlier in the movie. There have been many twisty and shocking mystery films over the decades, with some of the greatest directors being the brain behind them. Which of these mystery film-makers do you consider to the best at their craft ? Discuss this list here ! Results of 1,363 votes: 1. Alfred Hitchcock Psycho (1960), Vertigo (1958), Rear Window (1940), North by Northwest (1959) 2. David Fincher Se7en (1995), Gone Girl (2014), Zodiac (2007), The Game (1997) 3. Christopher Nolan Memento (2000), The Prestige (2006), Interstellar (2014), Insomnia (2002) 4. David Lynch Mulholland Drive (2001), Blue Velvet (1986), Lost Highway (1997) 5. M. Night Shyamalan The Sixth Sense (1999), Unbreakable (2000), Signs (2002), The Village (2004) 6. Bong Joon Ho Parasite (2019), Memories of Murder (2003) 7. Brian De Palma Dressed to Kill (1980), Blow Out (1981), Stir of Echoes (1999), Femme Fatale (2002) 8. Denis Villeneuve Prisoners (2013), Arrival (2016), Blade Runner 2049 (2017), Sicario (2015) 9. James Wan Saw (2004), The Conjuring (2013), Insidious (2010), The Conjuring 2 (2016) 10. Martin Scorsese Shutter Island (2010), Hugo (2011) 11. Akira Kurosawa Rashomon (1950), High and Low (1963), Stray Dog (1949) 12. John Carpenter The Thing (1981), In the Mouth of Madness (1994), The Ward (2010) 13. Roman Polanski Chinatown (1982), The Ninth Gate (1999), The Ghost Writer (2010) 14. Orson Welles Citizen Kane (1941), The Lady from Shanghai (1947), The Stranger (1946) 15. Steven Spielberg Minority Report (2002), The Adventures of Tintin (2011) 16. Oriol Paulo The Invisible Guest (2016), The Body (2012) 17. Billy Wilder Double Indemnity (1944), Witness for the Prosecution (1957), The Private Life of Sherlock Holmes (1970) 18. Terry Gilliam 12 Monkeys (1995), The Imaginarium of Doctor Parnassus (2009), The Brothers Grimm (2005) 19. Wes Craven Scream (1996), Scream 2 (1997), Scream 4 (2011) 20. Ari Aster Hereditary (2018), Midsommar (2019) 21. Rian Johnson Knives Out (2019), Brick (2005) 22. Krzysztof Kieslowski Three Colors: Red (1994), Three Colors: Blue (1993), The Double Life of Véronique (1991) 23. Bryan Singer The Usual Suspects (1995) 24. Paul Greengrass The Bourne Ultimatum (2007), The Bourne Supremacy (2004) 25. Lynne Ramsay We Need to Talk About Kevin (2011), You Were Never Really Here (2017) 26. David Cronenberg Cosmopolis (2012), Spider (2002) 27. Fritz Lang M (1931), The Woman in the Window (1944), The Testament of Dr. Mabuse (1933) 28. John Huston The Maltese Falcon (1941), The Stranger (1946), The Killers (1946) 29. David Mamet Spartan (2004), The Spanish Prisoner (1997) 30. Carol Reed The Third Man (1949), The Fallen Idol (1948) 31. Robert Wiene The Cabinet of Dr. Caligari (1920), The Hands of Orlac (1924) Related Polls Best Director Cameo Which of these Directors had the best cameo? Discuss the Poll Here Most Anticipated Veteran Director's Film for 2019-2020 Which film from a veteran director (pre-2000's debut) are you most looking forward to seeing in the next two years? After voting, you might discuss the list here August 2024 Popular People The people in this poll are the most popular people in IMDb who were born on each date during the month of August. Who is your favorite? After voting, please discuss here. See also: Jan Feb Mar Apr M… This director deserves a theme park! Regarding all these filmmakers' bodies of work, which one most deserves a theme park built around his movies or more generally, his cinematic universe? Some descriptions of the possible attractions to… Put on Your Mask Masks are one of the most important weapons we have to fight COVID-19. Until a vaccine or a cure arrives, wearing one is not about politics, but about caring for everyone around you. Which of the fol… International Female Filmmakers From this selection of female film directors from around the world, who is your favorite? Also vote for American female filmmakers Discuss here Best Horror Movie Director Part II Who is your favorite director of horror movies? Vote in the companion poll by urbanemovies here: Best Movie/TV Horror Genre Director: Part One Discuss here Film Directors Pose Which of these renowned contemporary directors can strike the coolest "director-pose" next to a movie camera? Discuss your favorite auteur HERE...Action! Fantastic Follicles of Filmmakers! Actors aren't the only ones with unique hairstyles, some directors also love to show off their luscious locks. Which of these directors has the most fabulous hairdo? Discuss the list here Leo Directors These directors are born under the astrological sign, Leo, which characterizes every person born between July 23rd and August 22nd. Which one is your favorite? Discuss here Super DIRECTOR (Part I) Which of these filmmakers do you feel best handled (as a director in a movie) the action comic book/super-hero genre? Discuss here Favorite M. Night Shyamalan Film M. Night Shyamalan gained international recognition when he wrote and directed 1999's The Sixth Sense, which was nominated for 6 Academy Awards, including Best Picture, Best Director and Best Original… Top Grossing Director at the Worldwide Box Office Who is the top grossing director you have spent the most money watching in theaters? Source: The Numbers Please discuss here. Spell Check Which of these names have you had most trouble spelling without looking them up in IMDb first? Discuss and add your typos here Asian Pacific American Filmmakers Who is your favorite Asian Pacific American Filmmaker? Source and full list: imdb.com Join the Discussion Here in the IMDb Poll Community Forum Directors that Need to be Punished by Law! Members of the jury, which if the below usual suspects do you feel is most worthy of their sentence? Judge the offenders here Please note: This poll is intended to be humorous and is not to be taken s… Surprising writing credits. Which of these credits most surprises you? Please note, I'm only including credits that are on IMDb. Discuss the list here Best Director of the Decade Which do you think has been the most prominent director of the entire decade? Discuss here after voting Multiple Razzie Winners Which of these artists who have won multiple Golden Raspberry awards do you think least deserves to be on this list ? Discuss here. Greatest British Film Director Who do you think is the greatest British Film Director? Discuss the list here
6282	dbpedia	3	75	https://www.nytimes.com/reviews/movies	en	Movie Reviews	https://www.nytimes.com/reviews/movie review, New York movies, NY movies, Brooklyn movies, Manhattan movies search	https://www.nytimes.com/reviews/movie review, New York movies, NY movies, Brooklyn movies, Manhattan movies search	[ "https://static01.nyt.com/images/2024/08/19/multimedia/16doc-col-fhlg/16doc-col-fhlg-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/union1-vmtl/union1-vmtl-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/15redisland-review-qkpg/15redisland-review-qkpg-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/13/multimedia/goodhalf1-btqv/goodhalf1-btqv-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/15rearview-review-kflt/15rearview-review-kflt-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/15/multimedia/15thegreatestsurfmovie-review-tvfw/15thegreatestsurfmovie-review-tvfw-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/13/multimedia/close1-lhft/close1-lhft-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/15caligula-review-lzfc/15caligula-review-lzfc-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/15alienromulus-review-fkhq/15alienromulus-review-fkhq-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/16/multimedia/jackpot1-zwcf/jackpot1-zwcf-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/09/multimedia/08IT-ENDS-WITH-US-Pix1-pwlz/08IT-ENDS-WITH-US-Pix1-pwlz-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/09/multimedia/08the-instigators-review-zpkq/08the-instigators-review-zpkq-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/08/multimedia/08girl-review-cbtv/08girl-review-cbtv-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/08/multimedia/08dance-first-review-pcmz/08dance-first-review-pcmz-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/09/multimedia/08good-one1-lqvh/08good-one1-lqvh-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/09/multimedia/08cuckoo1-kclf/08cuckoo1-kclf-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/08/multimedia/08BORDERLANDS-REVIEW-gzmq/08BORDERLANDS-REVIEW-gzmq-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/05/multimedia/trap1-jpck/trap1-jpck-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/02/multimedia/02doc-col-ptlh/02doc-col-ptlh-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/02/multimedia/01WAR-GAME-REVIEW-PIX-kvqz/01WAR-GAME-REVIEW-PIX-kvqz-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/02/multimedia/robpeace1-tfkg/robpeace1-tfkg-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/07/31/multimedia/sebastian1-lfqm/sebastian1-lfqm-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/02/multimedia/peak1-pztg/peak1-pztg-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/01/multimedia/01kneecap-review-qfvk/01kneecap-review-qfvk-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/01/multimedia/01haroldpurplecrayon-review-zwbg/01haroldpurplecrayon-review-zwbg-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/08/02/multimedia/coup-1-lqfp/coup-1-lqfp-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/07/31/multimedia/26doc-col-jktl/26doc-col-jktl-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/07/26/multimedia/25riverflows-review-cmvf/25riverflows-review-cmvf-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/07/23/multimedia/rhinegold1-fpzk/rhinegold1-fpzk-mediumThreeByTwo210.jpg", "https://static01.nyt.com/images/2024/07/26/multimedia/fabulous-four1-kzwj/fabulous-four1-kzwj-mediumThreeByTwo210.jpg" ]	[]	[]	[ "movie review", "New York movies", "NY movies", "Brooklyn movies", "Manhattan movies search" ]	null	[ "Alissa Wilkinson", "Manohla Dargis", "Glenn Kenny", "Ben Kenigsberg", "Jeannette Catsoulis", "Amy Nicholson", "Beandrea July", "Chris Azzopardi", "Beatrice Loayza", "Natalia Winkelman" ]	2024-08-16T00:00:00	Our film critics on blockbusters, independents and everything in between.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/reviews/movies	Daughters PG-13 Documentary Directed by Angela Patton, Natalie Rae The Netflix documentary doesn’t gloss over hard truths as it follows participants in the Date With Dad program. By Alissa Wilkinson The Union PG-13 Action, Comedy, Thriller Directed by Julian Farino When a mission goes pear-shaped, a covert operative (Halle Berry) turns to a secret weapon: her high school boyfriend (Mark Wahlberg). By Ben Kenigsberg Red Island Not Rated Drama Directed by Robin Campillo Robin Campillo relies on the power of suggestion to sketch life in this former French colony, filtering it obliquely through a young white boy’s eyes. By Manohla Dargis The Good Half Not Rated Comedy, Drama Directed by Robert Schwartzman Nick Jonas and Brittany Snow play siblings coordinating funeral logistics for their mom in this drama, a cross between “Terms of Endearment” and a Hallmark movie. By Natalia Winkelman In the Rearview NYT Critic’s Pick Not Rated Documentary Directed by Maciek Hamela Maciek Hamela’s documentary offers a compelling perspective on the Russian invasion of Ukraine through the stories of people fleeing the country in a van. By Nicolas Rapold The Greatest Surf Movie in the Universe Not Rated Animation, Comedy Directed by Vaughan Blakey, Nick Pollet A mix of too much lousy animation and too little wave-riding footage. By Glenn Kenny Caligula: The Ultimate Cut Not Rated Drama, History, Mystery Directed by Tinto Brass With the belief that a masterpiece lurks within the mangled original 1980 release, Thomas Negovan has patched together a new version (with less skin) from the Penthouse archive. By Elisabeth Vincentelli Alien: Romulus R Horror, Sci-Fi, Thriller Directed by Fede Alvarez The seventh installment of the series centers on Rain (Cailee Spaeny), a contract worker in an outer-space mining colony, and her friend Andy (David Jonsson), an android. By Manohla Dargis It Ends with Us PG-13 Drama, Romance Directed by Justin Baldoni Blake Lively plays Lily Bloom, a flower lover with a thorny personal garden, in this gauzy adaptation of Colleen Hoover’s best-selling novel. By Manohla Dargis Girl You Know It’s True Not Rated Biography, Drama, Music Directed by Simon Verhoeven This film, based on the lives of the duo who lip-synced their way to stardom and downfall, fills in many of the details behind the facade. By Glenn Kenny Dance First Not Rated Biography, Drama Directed by James Marsh Samuel Beckett’s life is reduced to mommy and daddy issues in a biopic that offers simple explanations for the career of a complex writer. By Ben Kenigsberg Good One NYT Critic’s Pick R Drama Directed by India Donaldson Lily Collias delivers an extraordinary lead performance in this exquisite debut feature about a camping trip and a moment of self-realization. By Alissa Wilkinson Cuckoo NYT Critic’s Pick R Horror, Mystery, Thriller Directed by Tilman Singer Dan Stevens and Hunter Schafer face off in this unexpectedly fun and undeniably nutty horror-comedy about cross-species pollination. By Jeannette Catsoulis Borderlands PG-13 Action, Adventure, Comedy, Sci-Fi, Thriller Directed by Eli Roth In Eli Roth’s caper movie, based on the best-selling video game franchise, Cate Blanchett plays a bounty hunter who is tasked with finding a tycoon’s daughter. By Amy Nicholson Trap PG-13 Crime, Horror, Mystery, Thriller Directed by M. Night Shyamalan Josh Hartnett stars as a father with a secret in this M. Night Shyamalan film set at a concert. By Amy Nicholson Elizabeth Taylor: The Lost Tapes Not Rated Documentary Directed by Nanette Burstein The documentary blends audio interviews with footage from her life to provide a revealing look not so much at the actress, but at celebrity culture. By Alissa Wilkinson War Game NYT Critic’s Pick Not Rated Thriller Directed by Tony Gerber, Jesse Moss This nail-biter of a documentary imagines it is Jan. 6, 2025, and armed supporters of the losing candidate are hatching a coup and maybe a civil war. What will the nation’s leaders do? By Manohla Dargis Rob Peace R Biography, Drama Directed by Chiwetel Ejiofor The actor Chiwetel Ejiofor directs a cohesive ensemble — featuring Mary J. Blige, Michael Kelly, Mare Winningham, Camila Cabello and Jay Will — in a heart-wrenching tale based on a true story. By Beandrea July Sebastian Not Rated Drama Directed by Mikko Mäkelä For inspiration, a writer moonlights as an escort in this drama from Mikko Makela. By Chris Azzopardi Peak Season Not Rated Comedy, Drama, Romance Directed by Steven Kanter, Henry Loevner In this modest second feature, a disillusioned business-school graduate, taking a breather in high-altitude Wyoming, meets a rugged fly-fishing instructor. By Ben Kenigsberg Kneecap R Comedy, Drama Directed by Rich Peppiatt Members of the pioneering Irish-language rap group play versions of themselves in a gleefully chaotic film that casts them as tall-tale heroes. By Beatrice Loayza Harold and the Purple Crayon PG Animation, Adventure, Comedy, Family, Fantasy Directed by Carlos Saldanha Harold is an adult on a quest in this tale based on the beloved children’s book by Crockett Johnson. By Glenn Kenny
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Roberts", "Laura Hanrahan", "Melanie Curry" ]	2020-08-04T19:21:34.774741-04:00	If you love playing armchair detective, here's a list of some of the best murder mystery movies of all time.	en	/_assets/design-tokens/cosmopolitan/static/images/favicon.f9ef38f.ico	Cosmopolitan	https://www.cosmopolitan.com/entertainment/movies/a33478877/best-murder-mystery-movies/	There ain’t nothing better than a whodunit. Films like Glass Onion and Scream are considered classics for a reason (and that’s not just because I’m simping for Chris Evans and Matthew Lillard). You gotta give these films their props because the murderer reveals? Chef’s kiss My amateur detective brain could never! But that’s exactly what makes these movies so fun. I mean, everyone becomes a detective the minute a mystery is afoot, no matter what their real-life job may be. Because even when presented with an actual murder mystery, best believe we’re grabbing our deerstalkers (or fedoras if you’re more of a modern girlie), magnifying glasses, and trench coats before taking to Reddit to collectively pore over every detail—and dig up new ones, too. Real true-crime sleuths know the deal. And, honestly, police detectives need to give us our flowers because we’ve solved…okay more like brought attention to some of the greatest mysteries like Tiger King and Don’t Fck With Cats. I get it if you’re not interested in real-life murder mysteries because trauma,* but that doesn’t mean you can’t enjoy a good ole whodunit story. The world of mystery has taken on every conceivable form with comedies like Clue and dark, twisty, psychological films like Gone Girl. You also can’t forget to include G-rated films like Zootopia or Who Framed Mr. Rabbit either. Whatever your mystery mood is, this list of the 45 best murder mystery movies of all time has you covered. Rear Window (1954) No one can give you a murderous thrill quite like Alfred Hitchcock and (depending on who you ask) this one is his best ever. After breaking his leg and being confined to his Manhattan apartment, Jeff takes to looking out his window and right into his neighbors' units. But one night, he sees something incredibly suspicious and becomes convinced that a murder has taken place. See How They Run (2022) Saoirse Ronan and Sam Rockwell play two detectives in London's West End in the 1950s who are called in to investigate the murder of a theater crew member working on a big hit of a play, which just so happens to be an adaptation of a novel by Agatha Christie—ya know, the queen of murder mystery! L.A. Confidential (1997) It's 1950's L.A. and the police force is dealing with some serious corruption. And in the midst of that, three cops are trying to crack open the case on an unsolved murder, each using their own, er, personal brand of justice. The Da Vinci Code (2006) A mysterious murder AND cryptic clues left in Leonardo da Vinci's paintings? Umm, yes please! When a man is murdered inside the Louvre, the detectives must follow the clues, uncovering a two-thousand-year-old secret society. Murder By Death (1976) Five of the greatest detectives in the world are invited to dinner at a mysterious castle, and they soon find out that their host has planned an unsolvable murder. But if anyone can find out who the killer is, they'll win $1 million. Before I Go To Sleep (2014) After nearly dying from a traumatic attack, Christine (played by Nicole Kidman) now suffers from anterograde amnesia—she can't remember anything after her early 20s (even her husband, Ben) and she can't form new memories. But as flashes and snippets start to trickle back in, she realizes everything (and everyone) may not be as it seems. Where The Crawdads Sing (2022) Abandoned in a North Carolina marshland as a young girl, Kya raises herself totally isolated from anyone else. But as she grows up, a friendship (and maybe even more) starts to blossom with two of the boys in town. That is, until one of them (the son of a rich, well-known family) is found dead and Kya quickly becomes suspect number one. Zootopia (2016) I tell everyone to watch this Disney movie at least once because it's. just. that. good. Somehow, the film manages to balance a slightly dark murder mystery with comedy and charm from the two protagonists. Add in subtle themes of racism and stereotyping with cutesy anthropomorphic animals, and you somehow get a kid-approved murder mystery masterpiece. Deep Water (2022) Ben Affleck, my man…you gotta get some new roles. Once again, the star is playing a sulky husband in a messed-up marriage (re: Gone Girl). Only this time, he is being investigated for the murder of his wife’s lover, rather than the wife herself. Did he do it? Did the wife do it? Hell, is the lover even dead?? So many Qs. Basic Instinct (1992) This movie is all about a police detective investigating (and having a relationship with) the widow of a former rock star who may or may not have brutally murdered her husband. Ah, romance! Dark Places (2015) Based on Gillian Flynn’s novel of the same name, it follows the story of Libby Day, who, when she was 8, told police that her brother was responsible for her parents’ murder. But now that she’s grown up, she’s not so sure that’s the truth. A Simple Favor (2018) Blake Lively is perfection in the role of Emily—the super-cool, mysterious mom who just up and vanishes one day. But as things progress, they get a little more murder-y and a whole lot more confusing. In the Heat of the Night (1967) Virgil Tibbs, a Black police detective in Philadelphia, is wrongfully accused of murder by a racist police chief in Mississippi. Once he proves his innocence, he joins up with the police chief to figure out exactly who the real killer is. The Silence of the Lambs (1991) Serial killer Buffalo Bill is on the loose, and young FBI trainee Clarice Starling is trying to catch him. She has to enlist the help of another cannibalistic serial killer to give her some insight that could help her find him. And yes, this is the movie where the iconic line “Hello, Clarice” comes from. Zodiac (2007) Based on the very real (and still very much unsolved) Zodiac Killer case, this movie will have you wanting to solve the crime IRL. It’s also got a stacked cast with Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr. in leading roles. Charade (1963) Audrey Hepburn stuns in this movie as Regina “Reggie” Lampert, an American expat in Paris whose husband turns up murdered right as he was trying to leave the city. He had mysteriously sold off all his belongings, but the money is missing. You’ll come for the mystery but stay for the rapport between Audrey and Cary Grant. Clue (1985) Yes, like the classic murder mystery board game. This comedy murder mystery comes complete with multiple endings and a plot that will have you laughing and guessing start to finish. Gone Girl (2014) Based on Gillian Flynn’s best seller of the same name, Gone Girl is a murder mystery that also tackles some of life’s bigger mysteries—like what goes on in the dark, deep soul of a troubled marriage. Knives Out (2019) This highly stylized murder mystery was an instant classic, and Ana de Armas is a damn delight. The Girl on the Train (2016) How do you solve a murder when you’re the only witness and you can’t trust your own memory? That’s the conundrum Emily Blunt faces in The Girl on the Train. Murder on the Orient Express (2017) Agatha Christie’s boldly mustachioed Hercule Poirot is one of literature’s most famous detectives, and Kenneth Branagh brought him to life for his most well-known case in 2017’s remake of Murder on the Orient Express. Murder Mystery (2019) Adam Sandler and Jennifer Aniston reunited for Netflix’s Murder Mystery in 2019, playing a married couple who try to get out of their rut by finally going on their long-delayed honeymoon. Along the way, the meet a wealthy playboy who invites them into his world—which is promptly turned upside down by a mysterious murder. Bad Times at the El Royale (2018) Darkly funny and also just plain dark, Bad Times at the El Royale is the kind of movie that transports you to another world and keeps you on your toes. It doesn’t hurt that the movie features an all-star ensemble cast who all bring their A+ game—you’re gonna be hooked when you try to figure out who has checked in at the El Royale for the right and wrong reasons. Who Framed Roger Rabbit (1988) Anyone who thinks murder stories can’t be family-friendly is clearly forgetting about Who Framed Roger Rabbit, the best partially animated noir film the world will ever see. The Girl With the Dragon Tattoo (2011) Based on the Stieg Larsson novel of the same name, this adaptation starring Rooney Mara as hacker extraordinaire Lisbeth Salander is one of the great modern mysteries. Shutter Island (2010) If you like your murder mysteries with a side of serious mindf*ck, Shutter Island is definitely what you’ve been looking for. The movie stars Leonardo DiCaprio and Mark Ruffalo, and you truly won’t know what is even going on until the very end—but in a good, satisfying way. Primal Fear (1996) This movie basically launched Edward Norton’s career, and once you see his incredible performance in it, you’ll understand why. Plus, it has one of the most unexpected endings in movie history. Scream (1996) If you don’t think of Scream as a murder mystery, then you need to expand your thinking about murder mysteries. Because, honestly, hands up if you didn’t see the true identity of Ghostface coming. Disturbia (2007) The teen-focused remake of Rear Window the world didn’t realize it desperately needed until it was here. Old Boy (2003) This South Korean thriller isn’t just an amazing, enthralling murder mystery. It’s also widely considered one of the best films of the 2000s. Memento (2000) Mysteries can be just as compelling and head-scratching when they’re told in reverse, and Memento proved that. Psycho (1960) This Hitchcock classic shocked audiences from start to finish and basically invented the modern twist ending. Along Came a Spider (2001) This was Morgan Freeman’s second time playing famous book detective Alex Cross, after 1997’s Kiss the Girls. Both are great, but Along Came a Spider’s mystery will grip you—and have you trying to solve it right along with Morgan. The Fugitive (1993) Harrison Ford plays a man wrongfully accused of murdering his wife in this classic action movie. Naturally, he needs to figure out who really did the deed and clear his name. A Perfect Getaway (2009) This movie, starring Timothy Olyphant, Milla Jovovich, Steve Zahn, and a pre-Thor Chris Hemsworth, flew under the radar, but if you love mysteries with endings that you didn’t see coming but totally should have seen coming, watch it immediately. Veronica Mars (2014) We won’t talk about what happened during season 4, but we can admit that the movie was actually pretty good. Follow Veronica as she heads back to Neptune to figure out the murder of her classmate when one of her exes is the main suspect. Sherlock Holmes (2009) While you really can’t go wrong with any iteration of Sherlock, the Robert Downey Jr. and Jude Law version of the iconic detective and his assistant, Dr. John Watson, is still a fun watch. The Lovely Bones (2009) This is definitely a lot heavier than other murder mystery films, and that’s saying a lot for the genre. When a young girl is murdered and stuck in the in-between, she tries to find a way to contact her loved ones to help them figure out what happened. Game Night (2018) If you’re looking for something more lighthearted, this is the film for you. Follow a group of friends as they all attend a murder mystery party that gets a little too real after one of them gets kidnapped. Happy Death Day (2017) College student Tree Gelbman receives the worst birthday present ever when she’s murdered on her birthday. But instead of dying, she ends up stuck in a time loop where she keeps dying until she tries to figure out her killer. Death on the Nile (2022) Avoiding the Armie Hammer of it all, this film continues Kenneth Branagh’s Agatha Christie movie series. Taking place on a boat, things get tense and interesting when one of the passengers ends up dead. Death Note (2017) A high school student gains the ability to kill anyone he wants by simply writing their name in a notebook. When he starts to target criminals and others he hates, the police try to track him down and stop him. If you end up enjoying this film, then you’ll absolutely be obsessed with the original anime version. Searching (2018) A father teams up with a detective to try to figure out where his missing daughter is and what led to her disappearance. Ace Attorney (2012) Based on the iconic Phoenix Wright video game series, a new lawyer has to try to figure out who killed his mentor/best friend after he won his first case. The Lovebirds (2020) A couple on the verge of their breakup have to work together to clear their names after they’re framed for a murder they didn’t commit. Nancy Drew (2007) Emma Roberts stars as the iconic detective who tries to solve a new murder mystery involving a famous actor after finding clues in her new home. The Loft (2014) After a woman is found dead in a loft, a group of men who share it for their sexual exploits must figure out who among them killed her and why. The Pink Panther (2006) A policeman suddenly gets promoted to detective and must try to solve the murder of a famous soccer player. The Snowman (2017) The biggest mystery surrounding this movie is how it was able to be released after it was revealed that 15 percent of the movie wasn’t actually filmed. But we’ll let it slide thanks to its iconic marketing campaign that we all still meme to this day. Detective Pikachu (2019) After receiving the news that his father died in a car accident, Tim Goodman teams up with a talking Pikachu to try to figure out what really happened. Saving Zoë (2019) After her sister is killed, Echo tries to figure out who the real murderer is by using her diary as a key. November Criminals (2017) Two best friends try to work together to solve a murder mystery after everyone else in their town tries to move on from it.
6282	dbpedia	3	59	https://www.newyorker.com/culture/the-front-row/martin-scorsese-on-making-killers-of-the-flower-moon	en	Martin Scorsese on Making “Killers of the Flower Moon”	https://media.newyorker.…n%20scorsese.jpg	https://media.newyorker.…n%20scorsese.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header.svg", "https://media.newyorker.com/photos/6529d837a6c0cad6e89e9c99/master/w_2560%2Cc_limit/brody-martin%2520scorsese.jpg", "https://media.newyorker.com/photos/59097b758b51cf59fc423c61/1:1/w_270%2Cc_limit/undefined", "https://media.newyorker.com/photos/66abcc36d629927dc0f257fc/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66abcc36d629927dc0f257fc/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/669fc151cca8e56ee0910f0e/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/669fc151cca8e56ee0910f0e/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a6daff19a57a93be632c9c/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a6daff19a57a93be632c9c/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a140d6816e58a4f300730e/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/66a140d6816e58a4f300730e/4:3/w_480%2Cc_limit/undefined", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "movies", "hollywood", "martin scorsese", "leonardo dicaprio", "native americans", "film" ]	null	[ "Richard Brody", "David Remnick", "Tim Hamilton", "Antonia Hitchens", "Victor Lodato", "Condé Nast" ]	2023-10-17T06:00:00-04:00	Richard Brody interviews Martin Scorsese about “Killers of the Flower Moon,” and working with the Osage Nation, and Leonardo DiCaprio, Lily Gladstone, and Robert De Niro.	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/culture/the-front-row/martin-scorsese-on-making-killers-of-the-flower-moon	Martin Scorsese has the best curveball in the business. His 2013 film, “The Wolf of Wall Street,” based on the true story of a large-scale financial fraudster, is also his wildest and wackiest comedy, closer in inspiration to Jerry Lewis than to Oliver Stone. His modern-gothic horror-thriller “Shutter Island,” from 2010, is primarily a refracted personal essay about his childhood spent watching paranoid film-noir classics in the shadow of nuclear war. And now his forthcoming film, “Killers of the Flower Moon,” his first attempt—as an octogenarian—at a Western, is essentially a marital drama akin to Stanley Kubrick’s final film, “Eyes Wide Shut.” It borrows more from such intimate psychological dramas as “Phantom Thread,” “Suspicion,” and, yes, “Gaslight” than from any of the Western classics of John Ford. In other words, the first of the mysteries that Scorsese’s new film poses isn’t in the plot—it’s the mystery of its own genesis. When I met Scorsese several weeks ago, I told him, before we got started, that I do very few interviews, because, well, I have a director’s films, and, if watching them doesn’t give me enough to think about and to write about, then I’m in the wrong profession. That said, there was much that I wanted to know about Scorsese, not least because of the paradox of his artistic position: he directs extraordinary movies on hundred-million-dollar budgets yet makes them deeply personal and packs them with artistic flourishes—spectacular camera moves, intimate observations, dramatic shocks, and moments of performance—that are as daring as they are distinctive. I wanted to ask about his methods because I’ve long felt that a huge part of the art of directing is producing—that the originality of a finished film usually has its roots in the distinctiveness of its director’s approach to the systems and methods that get it made. I’d seen something of Scorsese’s behind-the-scenes originality in Jonas Mekas’s documentary about the making of Scorsese’s 2006 gangland drama, “The Departed”—the movie for which Scorsese finally won the Oscar for Best Director, after five previous nominations ended in disappointment, and which heralded his great outburst of work in the past decade and a half. I’d also seen it in “The Wolf of Wall Street,” in the way that Scorsese took the increasingly commonplace technology of C.G.I. and proceeded to use it like a painter. But the part of his process on “Killers of the Flower Moon” that I was most curious about involved the subject matter. Set in Oklahoma in the nineteen-twenties, “Killers of the Flower Moon” is based on the nonfiction book of the same name by David Grann, a colleague of mine at The New Yorker. In the movie, Leonardo DiCaprio plays Ernest Burkhart, a white man who marries an Osage woman named Mollie (Lily Gladstone), under the direction of his gangster-like uncle (Robert De Niro), as part of a wide-ranging and murderous scheme to pry away the wealth of the Osage Nation, on whose territory oil has been discovered. One of the common frustrations of watching movies adapted from books is the inevitable abridgment of the source material. Reading a book several hundred pages long takes many more hours than watching even a longish feature, and, often, one can sense an adaptation’s compression and gaps without having read the book. Scorsese’s new film is colossal—three hours and twenty-six minutes—but even that duration could never encompass the plethora of incident that Grann delivers in his fascinating, horrifying book. Scorsese escapes this dilemma with a move of almost Houdini-like ingenuity, zeroing in on something that even Grann’s voluminous research couldn’t shed much light on: What was that couple’s relationship like? Thanks to this change in emphasis, the task of writing the script became not one of condensation but one of expansion—of filling a historical gap by means of imagination. And the way in which the couple’s relationship is reimagined, as Scorsese made clear to me, embodies his own grappling with the underlying morality of Grann’s tale—a responsibility to place the Osage people at the center of the story that turned out to shift the very aesthetic of the movie. Almost all directors are also actors; they just happen to reserve their performances for their cast and crew. Some also perform in movies, their own or those of other directors; Scorsese has done both, albeit in incidental roles. In “Killers of the Flower Moon” he appears in a small but crucial dramatic role, a performance that is far more powerful than a Hitchcockian wink or a cameo to please connoisseurs. Scorsese won his Oscar at a time when the studios had already become inhospitable to his kind of large-scale yet artistically ambitious filmmaking, and the ensuing rise of superhero movies and other primarily youth-centered I.P. franchises made matters worse. Scorsese has leveraged his eminence to take a leading role in advocating for studios to both invest in the preservation and distribution of classic movies and release new and substantial movies by ambitious directors. In effect, he has become the face and the voice of the cause of cinematic art—past, present, and future. No spoilers, but, when he acts in “Killers,” he nonetheless speaks for himself and speaks, too, for the cinema at large. In person, Scorsese has a lot to say, and the fascination of what he says is heightened by his way of saying it. Just as a scene in a movie may be made of dozens of shots of diverse durations, assembled in various ways, and often ranging far in time and space and tone, so Scorsese speaks in a free-associative, quick-cut, montage-like manner that is entirely his own, building drama as the details accrete and connect with verbal counterparts to cuts, dissolves, superimpositions, and other kinds of cinematic punctuation. His conversation is the image of a mind in motion, ranging freely between memory and perception, between practical specifics and ideas, between firsthand experience and notions gleaned from watching movies—all infused, like his films, with purpose and passion. Just as “Killers of the Flower Moon” was the fastest three and a half hours of my moviegoing life, my conversation with Scorsese about it was the fastest hour of conversation I’d ever experienced. Our discussion has been edited for length and clarity. There’s something special about “Killers of the Flower Moon.” You always tell good, moving, passionate stories, but here I felt like you were doing something more than telling a story. I felt like you were bearing witness. Did you have that feeling when you were making the film? Was that part of what went into the project? Definitely. And I think it goes back to a time in ’74, when I had this opportunity to spend some time, only a day or two, maybe two days, with the Oglala Lakota (Sioux) tribe, in South Dakota, and I was involved with a project that didn’t work out. It was a traumatic experience, and I was so young I didn’t understand. I didn’t understand the damage and the poverty. I grew up with poverty in another way, which was working-class men and women on Elizabeth Street and Mott Street and Mulberry, but we also had the Bowery. So I grew up with that poverty. But I never saw anything like this, and I can’t describe why—it was hopeless. I met some Native Americans again in L.A. at the time, and we talked about another project, and I saw, too, that this incredible fantasy that we had growing up as children was something that—even despite the wonderful attempts at righting the wrongs of the Hollywood films with “Broken Arrow,” “Drum Beat,” “Apache,” “Devil’s Doorway”—all the films that were pro-Native American, there were still American white actors playing the Native Americans. But the stories were balanced toward not only who had right on their side but also a respect for the culture, particularly in “Broken Arrow,” I thought. But, in any event, no, I was always aware of poverty, and I always felt I was witness to it there only for a couple of days. But culminating in the end of the Western with Sam Peckinpah, there was a new territory then: How are we to think, what are we to make of all this in terms of the Native American experience? Are they really gone? In a way, as children, we thought, Well, they’re with us, but they’re like us now. We were children and, I think, meant to think that way of the forced assimilation, to a certain extent, of the Native populations. But I didn’t know. When I got out there and I saw what it was, it was different. But from 1974 to now—it’s forty-nine years. Had you been thinking of a project involving Native Americans for the entire time? I stayed away from it. I stayed away from it because the shock was so strong. Somehow it had to be the right story, and that’s taken a long time. How did you find David Grann’s book? How did it come to you? Oh, Rick Yorn gave it to me. Rick is my manager, and also Leo DiCaprio’s manager. And, yeah, the idea of the flower moon—the flower moon is feminine and we had just worked on “Silence,” and the moon images and the sense of Jesus as the feminine side of Jesus rather than the masculine side is really important. And so, for me, the flower moon, the feminine, but the “killers of the flower moon,” the clash of that, and this landscape, which I only had in my imagination—I’d never been out to the prairie. When I got out there, we were driving for so long on one road, and I wondered why we were going so slowly, and I looked at the—it was, like, forty-five minutes—I looked at this speedometer, we’re doing seventy-five, and I realized this place never ends. And on either side there were no trees. You really couldn’t tell how fast you were going. What you did with the book, I mean, not that I would ever want to teach, but if I were teaching a class on adaptation, I would show people your film and I’d have them read David’s book, because your transformation of the book is, to me, one of your many great achievements, because you have everything that’s in the book, almost everything that’s in the book, almost all the salient details of the horrors, in the film. But you reverse the perspective. Yeah. Leo and I wanted to make a film together about this whole idea of the West and all that sort of thing. And he was going to play Tom White, the F.B.I. agent. And so I said, I’m thinking, how are we going to do this? Because I’m just, not to be glib, but Tom White, in reality, was a very strong-willed man. Very, very, very disciplined, moral, straightforward. And laconic. Hardly said anything. Didn’t need to say much. Now, Leo likes—I told him many times, I said, Your face is a cinema face. I said, You can do silent films. You don’t need to say that or this, just your eyes do it, move, whatever you do, he just has it—but I do know he likes to speak in films. Then I’m realizing, too, who are these people? I said, These guys come in from Washington, and the moment they get off that train, the moment they enter that town, you look around and you see Bob De Niro, you see so-and-so—“I know who did it.” The audience is way ahead of us. I said, It’s, like, we’re going to watch two and a half hours of these guys trying to find things. That’s a police procedural. In the book, it works; in the book, it works. But a police procedural, for me, I’ll watch it, but I can’t do it. I don’t know how to do it. I don’t know how to do the plot. I don’t know where to put the pen. And so I said, What the hell are we going to do here? So we tried and tried and tried. Our script was over two hundred pages, and one night we had a big reading: myself and Leo and [the co-writer] Eric [Roth] and my daughter, a number of people. The first two hours, we were moving along. The second two hours, boy, is this getting a little long in the tooth, as they say. It was just getting to be—we really ran out of energy in the story, and I wanted to tell more and more of the story, and I wanted to do more digressions, to go off in tangents, so to speak, what seem like tangents, but are not. But at the same time, luckily I had gone out to Oklahoma a few times and the first thing I did was, I was very concerned about meeting the Osage Nation to see how we could coöperate together. I found that yes, they were concerned about trust. I got them to understand that I wanted to do the best I could with them and the story, and that they could trust me, I hoped. And they began to, but I also understood why they don’t. I totally get it. And that’s the story. Now here, what really is the story is that you have trust in a marriage, right? O.K., there are different levels of it and there are aspects and mistakes and things, but there’s trust. Well, what I was learning from the Osage was that all the families are still there. The Burkharts and the Roans, Henry Roan. What we were told by their descendants was, Don’t forget this, that Ernest and Mollie were in love. Why the hell did she stay? Not why did she stay with him? How did she stay with him? Why one person stays with another, we don’t know. “How” is another issue, another way into the story. The “how” is deception, self-deception; the “how” is love stronger than what she dares think he is doing. So this was a coverup, and yet she trusted. And so this love story, this love story. And we had met with Lily [Gladstone] through a Zoom because [the casting director] Ellen Lewis showed me Kelly Reichardt’s “Certain Women.” Lily was extraordinary in it. And then Leo and her met on the Zoom because he was very concerned about who are we going to get to play this part? Obviously, she has to be Native American, and we wanted the Osage approval. They approved her, and, before they approved her, Leo had this conversation with her on Zoom, and as soon as the Zoom call was over he said, “She’s amazing.” I said, “Yeah, for many different reasons.” I think a lot of it you can see in the film; she has integrity, a sense of humor. There’s a profundity to her and there’s a sweetness, at times, of face. We felt confident that she knew more than us. She just knew it, meaning she knows the people, she understands the situation, she understands the delicacy of the confusions and, I think, the trespasses, so to speak. But in any event, after doing the reading, a week later, Leo came to me and—we still had this in our head, that they’re in love. And the reality was that she didn’t leave until after the trial. We had scenes in there, the F.B.I. guys—or the Bureau guys—were saying, “How is she still with him?” They actually said that. We have the court transcript. She’s still there in the court. She’s in the court. Doesn’t she get it? But there was something about him and her together, and then she left him after that. And we said, Well, what was that about? And I said, What if that’s the story? And Leo came to me and said—so we tried to build it in within the context of somebody else playing Ernest, and Tom White dealing with, again, the police procedural, but it overwhelmed it. The procedural overwhelmed the personal story. And Leo came to me again, he came to my house one night, a week later, and he said, “Where’s the heart of the film?” I said, “Well, the heart is with her and Ernest.” He said, “Because no matter what, if I’m playing Tom White, we deal with the iconic nature of the Texas Ranger.” We have seen that; it’s good. Does he need to do it? How would I do it any differently? I tried. I couldn’t find a way. So he looked at me and sat down and said, “Now, don’t get upset.” He said, “But what if I play Ernest?” So it was his idea to do it. Wow. I said, “If you play Ernest and we deal with the love story, then we’re at the very heart of it. We’re in the the day-to-day.” I said, “You realize, of course, that means we go in the center of script, rip it open and change everything and tell the studio you want to play the other guy, and we’re going to go this way, and Lily’s great, and we’ll rewrite the whole thing,” which is what we did. But “rewrite” is the wrong word. We constructed it all. Eric [Roth], me, a couple of friends helped. That’s what we had done with “Casino,” too, Nick Pileggi and I, we worked from transcripts. And so I would say, “That’s great over here.” And then another guy would say, “Hey, why don’t we put this in?” And so, cobbling and pushing and shoving, I mean, until we went into rehearsal, and then, even in rehearsal, we just kept working on it and working on it, and we had a lot with the Osage themselves, they would say things, and one guy, Wilson Pipestem, who was a lawyer, a really terrific guy, Osage, he was very concerned at first. He looked at me and said, “You don’t understand, we have a certain way of life.” And he’s a very strong lawyer, an activist, and he pointed out and said, “We grew up this way, we grew up that way”—he was giving me examples of things in the midst of, not a lesson, not an argument against me, but an argument for himself and for his people, saying, “This is what we are, you don’t understand this. For example, when I was young, my grandmother would be in the house and all of a sudden this storm would come up and I’d be running around and she’d say, ‘Nope, sit down, sit down, let the storm flow over us, the power of the storm. It’s a gift from God. It’s a gift from Wah’Kon-Tah. Let the storm—don’t move, just absorb the storm.’ ” And he said, “That’s the way we live.” So I wrote it down. Grab from here, grab from there. And there was the end of the scene, the dinner scene with Mollie and Leo, which we had written where she said, “Would you like some whiskey?” and they drink and she drinks more than him, but she doesn’t get drunk and he does. And I said, “We could do a great scene.” I said, “But there’s something—what if the rain hits? What if the storm happens, without making it too ominous, the storm, but it’s the power of the storm, the beauty of Wah’Kon-Tah, the gift of the storm. And, in order to do that, you have to be quiet. You can’t be your little coyote self.” And she controlled him that way, and he just waits. So that’s the way it was constructed. We had fun with that because we were always finding new things, because somebody would go by and say something, or [the producer] Marianne Bower would find out a great deal. She was our connection with all the people. She’d work with the different departments, different Osage technical advisers for different departments, and, well, “So-and-so said this and so-and-so said that.” “That’s interesting. What is that?” “Well, you know what they normally do: the youngest member of the family walks over the coffin of the eldest who died.” Well, that’s got to be, it’s got to be. We have to do it. So then the funeral scenes got bigger. So, in a way, what I mean by “got bigger” was that I—we even had more, but we had to narrow it down, narrow it down. Then I had the—coming from Sicilians, one of the key things, I grew up with a lot of the old people dying off. So I grew up in a lot of funeral parlors, and the old Italian ladies, the old Sicilians in black, it’s like “Salvatore Giuliano,” remember? “Turiddu!” and she screams on her son—that’s who we grew up with. And the son’s holding the mother back and she’s throwing herself in the coffin. I said, “They were talking about the wailers and the mourners.” I said, “They have mourners.” They have people who cry. So we got to do that. And when we did it, I found that—they said, “We do it in front of the house.” I said, “Great.” And I said, “Well, let’s get a wide shot of it from way above.” And there was the house, there was nothing behind it, and there were these three figures, and they’re wailing, and the way it sounded, well, that’s great. “Don’t you want a tighter shot?” I said no. He said, “I got a tighter shot, it’s maybe from—” I said, “No, the shot is up here. I think it’s up here because they’re wailing out to Wah’Kon-Tah. We see it all. And there’s this little house, pathetic human beings. We’re all as we are, and we’re just wailing and you barely hear it.” So this is the way it was. Your description of your discovery of the overhead shot reminds me of one of the things that’s miraculous in masterworks of large-scale filmmaking, which is that it’s like you’re painting a painting with a paintbrush at the end of a crane, but you’re not driving. No, I’m not driving it. I would like to, I’d like to drive the crane, but then I’d get into all kinds of trouble. But no, I don’t want the technology to limit me, meaning to get too hung up on the technology. I’ve always been fighting that for years. That’s why I had good relationships with a number of different directors of photography, Mike Chapman and certainly Michael Ballhaus, others I’ve worked with that were terrific, but we only did one or two films together. But often I would find that many D.P.s love the equipment and the equipment gets in the way. I had a shock of a lifetime when I saw something that was put up online soon after the release of “The Wolf of Wall Street,” which is a video made by Brainstorm Digital, a company that did some post-production work on the film. And what they showed was the footage as it appears in the film, and then the raw footage from the camera and how, by means of digital technology, by C.G.I., things were—a wedding scene was lifted physically off of one site and placed on another completely different background. Oh, yeah, we did something. Yes, yes, yes. Did you find yourself needing to use a lot of C.G.I. in the making of “Killers of the Flower Moon”? No, not really. Except for straightening out some landscape. For example, certain trees that weren’t quite right, supposedly. We were told those trees don’t necessarily belong in this part of the ground, whatever. No, we found that what [the production designer] Jack Fisk did with Pawhuska, where we shot, to make it look like Fairfax—Fairfax was about forty-five minutes away—it was like a studio. It was like we were literally going to these places. We had the storefronts reconstructed. It was like going back in time, really. We were spending a lot of time in 1921 and ’22. One of the things about this film, and, for me, your recent run of films, including “The Irishman,” is that they are ferociously political. I really get a sense of “The Irishman” as, Let me show you what’s lying underneath this respectable society, and, with “Killers of the Flower Moon,” it’s like lifting up the lid and saying, This is your American history. This is what you didn’t learn in school. This is what our society now is built on and doesn’t dare look in the face. Exactly. Exactly. Maybe because where I came from, I saw it on street level, I think. A lot of it has to do with believing that you’re right, believing you deserve it. And that’s what I’ve been becoming aware of in the past twenty-five, thirty years of the country based on people who formulated the country, white Protestant—English, French, Dutch, and German. And so that country was formed that way with that kind of thinking. It’s European, but not Catholic, not Jewish, but the work ethic of the Protestant, which is good. It’s just that that was the formation. And then the political and power structure came out of that and stays with that. It just stays with it. I also saw and experienced people close to me who were basically pretty decent, but did some bad things and were taken advantage of by law officers. So I grew up thinking there’s no lawman you could trust. There was some good police, there were some good cops on the beat, nice guys. Some were not. But, from my father’s world, from his generation, it was a very different experience. But this issue of—I really admire the idea of people who really get into politics for public service and are really public servants. That’s really interesting. If they really serve the public. Could you make a film about one? I don’t know. One who could try, one who could try to be a good public servant. It reminds me of the line in “Black Narcissus.” The Mother Superior tells Deborah Kerr before she goes to India: Remember, the leader of them all is the servant of them all. I have the feeling that something changed in your work after “The Departed,” after you won the Oscar. Not that awards really matter, but that, at that point, it was like you had nothing else, whether consciously or unconsciously, nothing more to prove. And you then made a film that I consider one of your best and one of your, in the most positive sense, craziest films, “Shutter Island.” Yeah, the people are split on that one. But I like it, in the sense that every line of dialogue could mean an infinite number of things. It was really quite interesting for me, I really wanted to do it. Winning the award was—don’t forget, it was thirty-seven years before an Oscar for Best Director, let alone Best Picture, which was a total surprise to me. But it’s a different Academy from when I was starting. But, for me, that award was, it was inadvertent. I had made “The Departed” as a sign-off. I was leaving and just going to make some small films, I don’t know. And it just happened that “The Departed” clicked. And it was a very difficult one to make, for many different reasons. That’s a whole other story. But we fought our way out of it—through it, I should say. Through it, out of it. And, when I finally threw it up on the screen, people liked it. I don’t mean I didn’t think that it was good or bad. I just felt we had accomplished something. I didn’t know it was going to be that way. I had no idea. And my next film was going to be “Silence.” That was the idea. But what came in between was “Shutter Island.” There were issues there. I did feel something—let’s make, O.K., now I can—let’s try and make another movie. And I got the script and I just fell in love with the script. Then I didn’t realize, until we started working with the actors, the different levels, and I knew the levels were there, but how to perceive—how to shoot it, how to perceive the images, and also how to direct the actors. But the thing about it was that in a way, after “Departed,” it was like I knew I could not make films for the studios anymore, because at that time—there’s no ill will between us and the people who were at the studio at the time—but, even to this day, they wanted a franchise film, and I killed off the two guys. They wanted one to live. I didn’t want to make films that way. And I realized there was no way I could continue making films. And so everything since then has been independent to a certain extent since “Shutter.” The guy who took care of me was [the Paramount Pictures C.E.O.] Brad Grey. He came in, Brad gave me “Departed,” and he agreed on “Shutter.” And so then he passed away. And, since then, it’s really been independent. There’s no room for me to make films through the studios that way anymore. Well, that’s been my hypothesis: that an entire generation of younger filmmakers found their second wind with independent producers, whether it’s Wes Anderson or Sofia Coppola or Spike Lee. Yeah. But, from your generation, you are the person who—the studio was holding you back in a certain sense. Not that you made bad films, you made wonderful films. But I kind of always felt there’s more. There’s a—not compromise—but there’s a wall that a filmmaker hits, any filmmaker hits when they’re working for the big studios. There’s no doubt. And my thing was to explore that. And in some cases—in the case of “Last Temptation of Christ,” I had a deal at Universal. I owed them some movies; that became “Cape Fear” and “Casino,” and that was it. But by the time we did “Kundun” and “Bringing Out the Dead,” it was over. It was over. We were declared gone, “Bringing Out the Dead” only played for a few weeks. And it was a Paramount film. And that was the end. And again, [my agent, Michael] Ovitz came and kind of helped me and put together “Gangs of New York” with Leo, with [Harvey] Weinstein, and all of them. That became a whole other period of my life. I was glad when it was over, but I was obsessed with “Gangs.” I never really even finished it in my head. And I just said, O.K., this obsession is over with. I still haven’t, at that point, hadn’t cracked the script for “Silence.” So I was ready to do a movie. I wanted to work and make a film, and they had this thing called “The Aviator.” They didn’t tell me what it was about. And so I started reading it, don’t tell me it’s Howard Hughes, because Spielberg, Warren Beatty want to do—but then I kept reading it. It’s the different Howard Hughes, it’s the early Howard Hughes. He flies and he’s—but right here, in the meantime, he can’t touch a doorknob. That’s interesting. So we did that. And, even that, that was fine. That was a terrific shoot. The editing was good, but the elements involved in the distribution caused some serious problems toward the end. I had some very, very ugly—and I decided at that point, you can’t make films anymore. If this is the way I’m going to have to make them, it’s over. And so I said, I wanted to make this. I found the script of “The Departed” and I liked the idea and I said, “Let’s just make this in the streets and let’s do something.” But that became—it turns out it was Warner Bros., which was one of the distributors of “Aviator,” that we had some arguments with. And they said, “Don’t worry, we’ll take care of you.” But, in the meantime, it was difficult. And so, after that I said, “No more.” And so we went into “Shutter Island,” but I was able to make “Departed” pretty much the way I wanted to. But it was a knockdown, drag-out fight all the way from Day One to the end. So by that point I realized, If that’s the way you’re going to make a film, there’s no sense anymore. So it was going to be independent films and it was going to be going into “Silence” and that sort of thing. So did you think you were going to scale back and work on very low budgets with seven people in the street? Yes. Yes. Are you still tempted? I think, let me put it this way, it’s into my head. Seven people could be seventy, but it’s got to feel like seven, because, quite honestly, I’m short. I’m old now. Try to get in the room with the lighting and all the cable. I have to have an assistant in front of me, taking me. I would love to be able to have the freedom of the smaller crews again, a sense of freedom. But in the case of “The Irishman,” for example, out of the question, because of the trucks, because of the C.G.I., and Bob [De Niro] and me, I was seventy-five. Bob was seventy-five, Al [Pacino] was seventy-seven, Joe [Pesci], I don’t know what age he is. I mean, at a certain point, by the time we all get on set, they’re good for a certain amount of hours. And if you want to say, “Hey, we’re going to go down the block and shoot another scene, we’re going to move all the trucks,” they need sleep. So we were kind of locked in there. But with “Killers of the Flower Moon,” by having Pawhuska to ourselves, that was quite something. Adam Sumner’s a brilliant assistant director. He works with Steven Spielberg and Ridley Scott. His staging is wonderful, and the background stuff—I would say, “O.K., they’re going to be coming down the block here, we’re going to track this way,” and, of course, it’s 1921. So the background, costumes, horses, you need people doing things. It’s not like shooting in New York, but we had the control. It was like a studio. We had the control. And that, in a funny way, made it feel like we were making a smaller picture. And we had such devotion from the Osage, from all the people working behind the camera to get the costumes right. I chose them. You could see it with [the costume designer] Jackie West. I sent black-and-white pictures everywhere, and drawings. I would circle a tie or a collar or a shoe. They would bring me stuff from the Osage and I’d circle certain things. They’d tell me what’s right and what’s wrong for certain. But, primarily, I mean, buttons. I would go on—every place in the film, all the men’s and women’s costumes had gone through me, through to Jackie, from historical photographs and from films like “The Winning of Barbara Worth,” which I saw one night. My wife was in the hospital, it was on TV on TCM. And I think Gary Cooper’s wearing the goggles in the car. It’s a silent film. And so we had the goggles. Or “Blood on the Moon,” which I looked at again last night because I want to do something on TCM with it. “Blood on the Moon,” the costuming there and the brooding nature of the way they move. And Robert Mitchum, Charles McGraw, Robert Preston. Very, very important influence for this picture. So it felt free, and maybe in a way, too, because we weren’t in L.A., we weren’t in New York. There wasn’t anywhere to go. You’re in a big house that I had rented and you go and make the movie, you’re not going to Tulsa; you have night life in Tulsa. I was in Bartlesville, where Terry Malick grew up. So you’re all focussed together and there’s essentially nothing to think about but the movie. The picture. ♦
6282	dbpedia	1	17	https://www.academia.edu/77251086/Chiller_dillers_for_the_shiver_and_shudder_set_The_Whistler_film_series	en	Chiller-dillers for the shiver-and-shudder set: The Whistler film series	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/84683613/mini_magick20220422-19231-1vaivd9.png?1650640336", "https://0.academia-photos.com/1422635/147058249/136606053/s65_frank.krutnik.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "frank krutnik", "sussex.academia.edu" ]	2022-04-22T00:00:00	This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio program The Whistler. It examines how this anthology series developed within Columbia’s ongoing strategy of				https://www.academia.edu/77251086/Chiller_dillers_for_the_shiver_and_shudder_set_The_Whistler_film_series	This article consists of an analysis of the film work and career of director Rowland Brown, one of the first (if not the first) director-screenwriters in Hollywood. Brown pursued his career during Hollywood’s pre-Code era, but only directed three idiosyncratic films, all of which were linked to the gangster genre: Quick Millions (1931), Hell’s Highway (1932) and Blood Money (1933). There are many factors which explain why he was ousted from Hollywood and not allowed to direct again, one of which is the highly transgressive and critical nature of the discourse found in his cinema. Despite the uniqueness and originality of his film work, today he is an all but forgotten figure, only acknowledged by a prestigious group of film historians. His cinema has yet to be studied in depth. The ultimate purpose of this article is to contribute towards redressing this omission in the History of Film. KEY WORDS: Rowland Brown–Classical Hollywood cinema–Pre-Code period (1930–1934)¬–Quick Millions (1931)–Hell’s Highway (1932)–Blood Money (1933)–gangster genre From classic films such as "Casablanca" to anti-Nazi films, comedy, and film noir, American cinema in the 1930s and 1940s was a tool of political engagement and creative expression. German-speaking directors, actors, writers, and composers who fled Nazi Europe and found refuge in America helped to pioneer this Golden Age of Hollywood. Published to accompany a major traveling exhibition, "Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950" explores the contributions of these visionary émigrés during these difficult times, when democratic ideals were fervently debated and defended. "Light & Noir" is inspired by the twin genres of comedy and film noir, illuminating both the hopes and challenges of adjusting to a new culture in the midst of a world in upheaval. The catalogue features an essay that connects the exhibition narrative with a broader history of émigrés in Hollywood, followed by highlights from the exhibition and poignant recollections by descendants of these luminaries in American moviemaking. Martin Halliwell refers to the fifties as a “period of puzzling paradoxes” that is often remembered through a mix of “myths and nostalgia,” however, I would argue that the fifties were consumed by the dialectic of their own myths and the stark reality of a changing world. The hero of 1950s American Western films embodies the hopes and dreams of a culture experiencing existential challenges and social evolution. The heroic character displays the internal complexities that society grapples with as well as exploring social commentary. As a window into the morality of the 1950s culture, the Western is a useful tool that enables examination into the dynamics of society during this formative and mythic time period. Chapter 12 of Recovering 1940s Horror Cinema- Traces of a Lost Decade edited by Mario Degiglio-Bellemare; Charlie Ellbé And Kristopher WoofterThe 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a “classical” period or “canonical” mode of horror in the 1930s, especially as represented by the monster films of Universal Studios. The book's four sections re-evaluate the historical, political, economic, and cultural factors informing 1940s horror cinema to introduce new theoretical frameworks and to open up space for scholarly discussion of 1940s horror genre hybridity, periodization, and aesthetics. Chapters focused on Gothic and Grand Guignol traditions operating in forties horror cinema, 1940s proto-slasher films, the independent horrors of the Poverty Row st...
6282	dbpedia	3	18	https://en.wikipedia.org/wiki/John_McTiernan	en	John McTiernan	https://upload.wikimedia…ville_2014_3.jpg	https://upload.wikimedia…ville_2014_3.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b2/John_McTiernan_Deauville_2014_3.jpg/220px-John_McTiernan_Deauville_2014_3.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/76/John_McTiernan_at_the_Cin%C3%A9math%C3%A8que_Fran%C3%A7aise_2.JPG/220px-John_McTiernan_at_the_Cin%C3%A9math%C3%A8que_Fran%C3%A7aise_2.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-04-25T17:51:05+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/John_McTiernan	American filmmaker Not to be confused with John McTernan. John Campbell McTiernan Jr. (born January 8, 1951) is an American retired filmmaker. He is best known for his action films, including Predator (1987), Die Hard (1988), and The Hunt for Red October (1990).[1][2] His later well-known films include the action-comedy-fantasy film Last Action Hero (1993), the action film sequel Die Hard with a Vengeance (1995), the heist-film remake The Thomas Crown Affair (1999), and The 13th Warrior (1999). His last completed feature film was the mystery-thriller Basic, released in 2003. He pleaded guilty to perjury and lying to an FBI investigator in regard to his hiring of the private investigator Anthony Pellicano in late 2000 to illegally wiretap the phone calls of two people, one of whom was Charles Roven, a co-producer of his action film remake Rollerball (2002).[3] He was incarcerated in federal prison from April 2013 to February 2014. During his imprisonment, he filed for bankruptcy amidst foreclosure proceedings for his large ranch residence.[4] Early life and education [edit] McTiernan was born in Albany, New York, the son of Myra and John Campbell McTiernan Sr., a lawyer and actor.[5] He attended the Juilliard School before graduating with a Master of Fine Arts from the AFI Conservatory in 1975.[6] John McTiernan is an alum from SUNY Old Westbury. Career [edit] 1980s [edit] In 1986, he wrote and directed his first feature film, Nomads, starring Pierce Brosnan (Brosnan's first lead role in a film). It was not well received by critics, receiving only one positive review out of eight according to the review aggregator site Rotten Tomatoes.[7] Roger Ebert of the Chicago Sun-Times rated it 1.5 stars out of four and said that even if viewers cared about the characters, the film is too confusing to understand.[8] Variety wrote, "Nomads avoids the more obvious ripped-guts devices in favor of dramatic visual scares. [...] In fact, everything seems to come naturally in a tale that even has the supernatural ring true."[9] Walter Goodman of The New York Times called the Innuat "as menacing as the chorus from West Side Story".[10] In his memoir, Total Recall, Arnold Schwarzenegger said he was so impressed by the film's tense atmosphere made with a low budget that he hired McTiernan to direct Predator.[11] The budget for sci-fi Predator was around $15m. It opened as #1 at the U.S. box office with a gross of $12m on just its opening weekend, and went on to gross nearly $100m overall.[12] In 1987, its domestic grosses were second only to Beverly Hills Cop II.[13] Initial critical reaction to Predator was negative, with criticism focusing on the thin plot. Metacritic, which assigns a score out of 100 to reviews, rates the film with an average score of 45 based on 15 reviews, with the review opinions summarized as "mixed".[14] Elvis Mitchell of The New York Times described it as "grisly and dull, with few surprises".[15] Dean Lamanna wrote in Cinefantastique that "the militarized monster movie tires under its own derivative weight."[16] Variety wrote that the film was a "slightly above-average actioner that tries to compensate for tissue-thin plot with ever-more-grisly death sequences and impressive special effects."[17] However, in subsequent years critics' attitudes toward the film warmed, and it has appeared on "best of" lists. The review aggregator site Rotten Tomatoes reports that 78% of 40 surveyed critics gave the film a positive review.[18] Made on a $28m budget, Die Hard went on to gross over $140m theatrically worldwide.[19] It is considered one of the greatest action films. The film's success spawned a Die Hard franchise, which so far has included four sequels, video games, and a comic book. It received very high ratings from critics.[20] English film critic Mark Kermode expressed admiration for the film, calling it an exciting setup of "Cowboys and Indians in The Towering Inferno". The film has been included in various top-ten lists of best Christmas movies, including Empire (rating it #1),[21][22] Entertainment Weekly (rating it #4),[23] Forbes (rating it #1),[24] The Guardian (rating it #8),[25] and San Francisco Gate (rating it #1).[26] However, not every critic praised it. Roger Ebert gave it a mere two stars out of four and criticized the stupidity of the deputy police chief character Dwayne T. Robinson (played by Paul Gleason), saying that "all by himself he successfully undermines the last half of the movie".[27] 1990–1995 [edit] The Hunt for Red October also received positive reviews from critics.[28] Nick Schager, for Slant Magazine, called the film "a thrilling edge-of-your-seat trifle that has admirably withstood the test of time".[29] Ebert called it "a skillful, efficient film that involves us in the clever and deceptive game being played",[30] while Gene Siskel commented on the film's technical achievement and Baldwin's convincing portrayal of the character Jack Ryan.[citation needed] McTiernan directed Medicine Man (1992), about a medical researcher in a rainforest, starring Sean Connery. Medicine Man was poorly received.[31] Roger Ebert gave it one-and-a-half stars, saying that although the film had "some beautiful moments", it never really came together and had "a cornball conclusion".[32] Entertainment Weekly said the story was "built around some very tired devices" and especially criticized the performance of the female lead.[33] In 1993, he directed and co-produced Last Action Hero, an action-comedy vehicle for Arnold Schwarzenegger. The film received mixed to negative reviews from critics.[34][35][36][37][38] Entertainment Weekly said it was "a stupid, generic slab of action bombast that keeps reminding us it's a stupid, generic slab of action bombast" and called it "a lead balloon of a movie".[34] Variety called it a "a joyless, soulless machine of a movie, an $80 million-plus mishmash".[35] Vincent Canby likened the film to "a two-hour Saturday Night Live sketch" and called it "something of a mess, but a frequently enjoyable one".[36] Roger Ebert gave the film 2.5 stars out of 4, writing that despite some entertaining moments Last Action Hero more often "plays more like a bright idea than like a movie that was thought through".[37] In 1995, McTiernan rebounded with Die Hard with a Vengeance, the third installment of the Die Hard film series. It was highly successful – garnering $366m in box office receipts and becoming the highest-grossing film of the year, although the film had mixed reviews by critics.[39][40] Owen Gleiberman of Entertainment Weekly said that while "McTiernan stages individual sequences with great finesse... they don't add up to a taut, dread-ridden whole."[41] James Berardinelli said the explosions and fights were "filmed with consummate skill, and are thrilling in their own right."[42] Desson Howe of The Washington Post said "the best thing about the movie is the relationship between McClane and Zeus", saying that Samuel L. Jackson was "almost as good as he was in Pulp Fiction".[43] Ebert gave the film a positive review, praising the action sequences and the performances of Willis, Jackson, and Jeremy Irons, concluding: "Die Hard with a Vengeance is basically a wind-up action toy, cleverly made, and delivered with high energy. It delivers just what it advertises, with a vengeance."[44] Empire magazine's Ian Nathan gave the film a 3/5-star review stating that "Die Hard With A Vengeance is better than Die Hard 2, but not as good as the peerless original. Though it's breathless fun, the film runs out of steam in the last act. And Jeremy Irons' villain isn't fit to tie Alan Rickman's shoelaces."[45] Later career [edit] From 1995 to 1997, McTiernan was a producer for several smaller projects, including at least three films that were not major releases – The Right to Remain Silent (a made-for-television film),[46] Amanda,[47] and Quicksilver Highway (a made-for-television film).[48] He directed The 13th Warrior (1999), a loose retelling of the tale of Beowulf starring Antonio Banderas, Diane Venora and Omar Sharif that was adapted from the novel Eaters of the Dead by Michael Crichton. The film did poorly at the box office, with a total loss estimated at $70–130 million.[49] It received generally mixed-to-poor reviews.[50] Roger Ebert gave the film one and a half stars out of four, saying that it "lumber[s] from one expensive set-piece to the next without taking the time to tell a story that might make us care."[51] Conversely, James Berardinelli gave it three stars out of four, calling it "a solid offering" that "delivers an exhilarating 100 minutes".[52] The outcome disappointed Sharif so much that he temporarily retired from film acting, saying "After my small role in The 13th Warrior, I said to myself, 'Let us stop this nonsense, these meal tickets that we do because it pays well.'" Sharif said it was "terrifying to have to do the dialogue from bad scripts, to face a director who does not know what he is doing, in a film so bad that it is not even worth exploring."[53] The Thomas Crown Affair, directed by McTiernan – a heist-film remake from the Norman Jewison original, starring Pierce Brosnan and Rene Russo (instead of Steve McQueen and Faye Dunaway – the latter performing a small part in the remake as Crown's psychiatrist), which opened to solid reviews and strong box office results, was released later the same year.[54] McTiernan then directed the 2002 film Rollerball, a science fiction remake starring Chris Klein, Jean Reno, and LL Cool J. The second remake in a row of a Norman Jewison's film to be directed by McTiernan, Rollerball was heavily panned by critics.[55] Time Out's Trevor Johnson described it as "a checklist shaped by a 15-year-old mallrat: thrashing metal track, skateboards, motorbikes, cracked heads and Rebecca Romijn with her top off", and Ebert called it "an incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense". The film was a box-office flop, earning a worldwide total of $26m compared to a production budget of $70m.[56] In 2014, the Los Angeles Times listed the film as one of the most expensive box office flops of all time.[57] As of April 2023 , his most recent feature film project was the 2003 thriller Basic with John Travolta and Samuel L. Jackson. Reviews for Basic were mostly negative.[58] Roger Ebert gave it one star out of four, saying it was "not a film that could be understood" and that "If I were to see it again and again, I might be able to extract an underlying logic from it, but the problem is, when a movie's not worth seeing twice, it had better get the job done the first time through."[59] Leonard Maltin's Movie Guide gave it two stars out of four and said the film "keeps adding layers of confusion so that it becomes less interesting as it goes along! The final 'twist' seems to negate the entire story, like a bad shaggy-dog joke."[60] His career was derailed in 2006 because of the criminal charges which saw McTiernan spend time in prison. Ten years later, The Hollywood Reporter called McTiernan one of Hollywood's most "despised" people.[61] His short film, The Red Dot, was released by Ubisoft to advertise the 2017 video game Tom Clancy's Ghost Recon Wildlands. It was the first of several action-oriented shorts to support the video game. The Red Dot was his first film project in 14 years. In a 2024 interview, he stated that the failures of his last two films (which had scripts he couldn't fix) had influenced him to not get involved with directing again, instead focusing his time on script doctoring.[62][63] Unproduced films [edit] Main article: John McTiernan's unrealized projects Legal issues [edit] Criminal charges, felony conviction, and incarceration [edit] On April 3, 2006, McTiernan was charged in federal court with making a false statement to an FBI investigator in February 2006 about his hiring of the private investigator Anthony Pellicano to illegally wiretap Charles Roven, the producer of his film Rollerball, around August 2000.[3][64][65] McTiernan had been in a disagreement with Roven about what type of film Rollerball should be, and had hired Pellicano to investigate Roven's intentions and actions.[66] He had asked Pellicano to try to find instances where Roven made negative remarks about the studio executives or said things to others that were inconsistent with what he said to the studio.[3] McTiernan was arraigned and pleaded guilty on April 17, 2006, as part of an initial plea bargain agreement to cooperate with prosecutors in exchange for lenient treatment.[67] Prosecutors said they then became convinced that he was continuing to lie to them, and that he had also hired Pellicano to wiretap someone else, prompting them to seek a prison sentence.[65] McTiernan then hired new counsel and tried to withdraw his guilty plea, saying that his prior counsel had not conducted a proper discovery in the case and had not presented him with the available defense approach of suppressing as evidence the conversation with him that Pellicano had recorded on August 17, 2000. However, this bid was denied by the Federal District Judge, Dale S. Fischer, who immediately proceeded to sentence him to four months in prison and $100,000 in fines.[3][64] The judge characterized McTiernan as someone who thought he was "above the law", had shown no remorse, and "lived a privileged life and simply wants to continue that".[65] He was ordered to surrender for incarceration by January 15, 2008, but was allowed to remain out of prison on bail pending an appeal to the Ninth Circuit Court of Appeals.[65][68] In October 2008, the Ninth Circuit Court of Appeals vacated McTiernan's four-month sentence and ruled that Judge Fischer had erred and he was entitled to a hearing as to whether his plea could be withdrawn.[3] The prosecution (and the judge) then agreed to allow McTiernan to withdraw his plea rather than proceed with such a hearing, and his plea was withdrawn on February 24, 2009.[citation needed] With the case reopened, the prosecution was no longer bound by the prior plea agreement, and filed additional charges against McTiernan; he faced another two counts of lying to the FBI (one for claiming he had hired Pellicano only in connection with his divorce proceedings and another for denying he had ever discussed wiretapping with Pellicano) and one count of committing perjury during the previous court proceedings by denying he had been coached by his attorney on what to say during his previous guilty plea hearing (a denial that he later stated in a declaration was false).[3][69] After some adverse rulings on his attempted defense arguments, and facing the possibility of a prison sentence of more than five years from the various charges, McTiernan eventually entered another guilty plea (on all three counts) in a second plea bargain in 2010, conditioned on his plan to appeal the earlier rulings against his defense approach, and Judge Fischer sentenced him to one year in prison, three years of supervised probation, and a fine of $100,000.[70] The judge stated that the extended duration of the prison sentence was attributed to the additional, more severe charge of perjury before her court. She emphasized that McTiernan's offenses transcended mere lapses in judgment, and he appeared to still not fully acknowledge responsibility for his actions. Additionally, she remarked that she would have imposed an even longer prison term if the prosecution hadn't suggested otherwise.[70] McTiernan was then released on bail pending an appeal of the adverse rulings.[70] On August 20, 2012, the Ninth Circuit Court of Appeals affirmed the district court judgment, but allowed McTiernan to address the U.S. Supreme Court regarding his attempt to suppress the recorded conversation before being required to report to prison.[3] His defense tried to argue that Pellicano had made the recording for an unlawful purpose and that this made it inadmissible, but the district and appeals courts disagreed with that interpretation of the rules of evidence.[3] On January 14, 2013, the Supreme Court declined to hear the case.[71] McTiernan surrendered to federal prison on April 3, 2013, to serve a stated 12-month sentence in the Federal Prison Camp, Yankton, in Yankton, South Dakota, a minimum-security former college campus holding about 800 male inmates, most of whom were white-collar criminals.[72] His Bureau of Prisons registration number was 43029-112.[4][73] Although the Yankton facility was rated by Forbes magazine as one of "America's 10 cushiest prisons", McTiernan's wife Gail stated that he had found it hard to adapt, having lost 30 pounds (14 kg); she also claimed that he was suffering from depression, and was "disintegrating" emotionally.[66] While in prison, McTiernan managed to write a possible sequel for The Thomas Crown Affair, with the working title Thomas Crown and the Missing Lioness.[74] His supporters created a "Free John McTiernan" campaign page on Facebook, including expressions of support from Samuel L. Jackson, Alec Baldwin and Brad Bird.[4][66][75] He was released from prison on February 25, 2014, after 328 days of incarceration, to serve the remainder of his 12-month prison sentence under house arrest at his ranch home in Wyoming until April 3, 2014.[73][75] Invasion of privacy civil suit [edit] On July 3, 2006, McTiernan's former wife, film producer Donna Dubrow, filed suit against him for invasion of privacy and other claims arising from her belief that he hired Pellicano to wiretap her telephone during their divorce negotiations.[76] The lawsuit continued for a decade,[4][77] ultimately being dismissed in 2016 at Dubrow's request.[78] Debts and bankruptcy [edit] In October 2013, while in prison, McTiernan filed for chapter 11 bankruptcy amidst foreclosure proceedings for his 3,254-acre (1,317-hectare) ranch residence in central Wyoming (valued at $8–10M), struggles to pay his past legal bills and IRS tax debts, and ongoing expensive disputes including the lawsuit by his ex-wife, a $5 million claim against him of liability in a 2011 automobile accident, and his ongoing effort to reverse his felony conviction.[4] The bank holding the mortgage on the ranch said the filing was a bad-faith tactic only intended to stall the foreclosure proceedings, and requested the presiding judge to convert the case to a chapter 7 bankruptcy – under the terms of which he would lose control of the bankruptcy case and have a trustee appointed to manage his assets, which would result in the liquidation of his assets rather than giving McTiernan the opportunity to attempt to reorganize his debt himself.[4][79] McTiernan's lawyers countered by saying that his potential for generating additional future income from new projects could enable him to eventually repay his debts, so a rapid liquidation of assets would be unnecessary and unjustified.[4][79] In the bankruptcy proceedings, he identified two likely future film projects with Hannibal Pictures, with working titles Red Squad and Warbirds, with large budgets and significant likely future income and planned to star major well-known actors.[79] On December 8, 2015, a judge ruled against McTiernan – agreeing with his creditors that his assets should be liquidated. It was reported that his ranch was likely to be sold and that an administrator would take over the management of his future film royalty payments.[80] Filmography [edit] Director Year Title Director Producer 1986 Nomads[a] Yes No 1987 Predator Yes No 1988 Die Hard Yes No 1990 The Hunt for Red October Yes No 1992 Medicine Man Yes No 1993 Last Action Hero Yes Yes 1995 Die Hard with a Vengeance Yes Yes 1999 The Thomas Crown Affair Yes No The 13th Warrior Yes Yes 2002 Rollerball Yes Yes 2003 Basic Yes No Executive producer Flight of the Intruder (1991) (uncredited) Robin Hood (1991) (TV movie) Gunfighter's Moon (1995) (uncredited) Quicksilver Highway (1997) (TV movie) Producer The Right to Remain Silent (1996) (TV movie) Amanda (1996) Awards and nominations [edit] Year Award Category Title Result 1988 Hugo Award Best Dramatic Presentation Predator Nominated 1989 Hochi Film Award Best International Picture Die Hard Won 1989 Blue Ribbon Awards Best Foreign Film Die Hard Won 1990 Kinema Junpo Awards Best Foreign Language Film Die Hard Won 1990 Japan Academy Awards Outstanding Foreign Language Film Die Hard Won 1997 American Film Institute Franklin J. Schaffner Award Won 2003 Stinkers Bad Movie Awards Worst Director Rollerball Won Worst Remake Won References [edit]
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of the Whistler: Directed by George Sherman. With Richard Dix, Leslie Brooks, Michael Duane, Mary Currier. A wealthy wife suspects her artist husband's affair with his model. He poisons his wife for inheritance but faces unexpected consequences after her death. A thriller exploring greed, betrayal, and the consequences of criminal actions.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0038917/	Secret of the Whistler, The (1946) *** (out of 4) T he sixth film in Columbia's series and the last to feature Richard Dix. In the film Dix plays an artist who begins dating a younger woman (Leslie Brooks) while waiting for his wife to die. After the wife dies he marries the younger woman but soon she starts to fear that he might have killed the first wife. This is another good entry in the series that manages to build some nice suspense with its very entertaining story and another fine performance by Dix. Not only is Dix very good in his role but the supporting cast is great as well. Brooks turns in a very good performance as the woman who begins to suspect the worst. Michael Duane and Mary Currier co-star as a newspaper man and Dix's first wife. The story goes by at a very fast pace and there's some nice twists and turns along the way. The film focuses on a psychological horror aspect, which is where the suspense comes from.
6282	dbpedia	3	19	https://www.slashfilm.com/786883/the-20-best-murder-mystery-movies-ever-made-ranked/	en	The 30 Best Murder Mystery Movies Ever Made Ranked	https://www.slashfilm.co…o-1646320233.jpg	https://www.slashfilm.co…o-1646320233.jpg	[ "https://www.slashfilm.com/img/slashfilm-logo.svg", "https://www.slashfilm.com/img/slashfilm-logo.svg", "https://www.slashfilm.com/img/slashfilm-icon.svg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/intro-1646320233.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/identity-2003-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/bad-times-at-the-el-royale-2018-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/in-a-loney-place-1950-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/clue-1985-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-nice-guys-2016-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/charade-1963-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/kiss-kiss-bang-bang-2005-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/in-the-heat-of-the-night-1967-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/gosford-park-2001-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/blow-up-1966-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-conversation-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/brick-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/murder-on-the-orient-express-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-long-goodbye-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/sleepy-hollow-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/scream-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-girl-with-the-dragon-tattoo-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/memento-2000-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/rear-window-1954-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/basic-instinct-1992-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-fugitive-1993-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/mystic-river-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-third-man-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/gone-girl-2014-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/knives-out-2019-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/zodiac-2007-1646320625.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/la-confidential-1997-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-maltese-falcon-1646319810.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/the-hateful-eight-2015-1652453736.jpg", "https://www.slashfilm.com/img/gallery/the-20-best-murder-mystery-movies-ever-made/se7en-1995-1646319810.jpg" ]	[]	[]	[ "" ]	null	[ "Gino Orlandini" ]	2022-03-03T18:17:10+00:00	Audiences will always pay to be puzzled, horrified, and confused, as long as they are thrilled. Here are the 30 best murder mystery movies ever made, ranked.	en	https://www.slashfilm.co…icon-448x448.png	SlashFilm	https://www.slashfilm.com/786883/the-20-best-murder-mystery-movies-ever-made-ranked/	Alfred Hitchcock had a big influence on the murder mystery genre in the 1930s. His early films like "The 39 Steps" are admirable historically, but a bit too dated at this point to make a straight-faced recommendation. Hitchcock's thriller plots and shadowy sensibilities were followed by '40s films like "The Maltese Falcon" where Hollywood's most rugged mid-century individual, Humphrey Bogart, started solving complex murder plots with his fast-talking devil-may-care flair. Studios were buying up pulpy detective novels and Agatha Christie page-turners, and the genre was coming together. Decades later films like "Gone Girl" are playing with the form and ensuring the murder mystery movie is as viable as ever. Audiences will always pay to be puzzled, horrified, and even briefly confused, as long as they are thrilled in the end. Murder mysteries pique our desire for forbidden knowledge. We love being tantalized with secrets, scandalized by lurid reveals, and then relieved when the world is put back into semi-working order. Here are the 30 best murder mystery movies ever made, ranked. Long live Agatha Christie's influence, the murder mystery queen. "Identity" from 2003 is a loose adaption of the writer's novel "And Then There Were None." It begins with the classic whodunnit gambit: 11 strangers are trapped in a motel during a storm as a killer among them begins picking them off one by one. As this excellent ensemble (including John Cusack, Amanda Peet, Ray Liotta) scrambles to solve the mystery and save their skin, there's a parallel plot about a man on trial for murder. His execution, however, might be stayed on the grounds he's insane. The link between these two plots is not initially clear, but that's the twist ... or at least one of them. Not everything in this solid potboiler works. In the post-"The Usual Suspects" and "The Sixth Sense" world, Hollywood filmmakers really started scrambling to insert incredible twists. Roger Ebert dubbed this the "Keyser Söze syndrome" and it does feel like aughts movies were stricken with a mismatch between supply and demand for plausible trick endings. "Identity" delivers at least one solid surprise, though. The secondary turn feels like a bit of a cheat, but if you enjoy the locked-room mystery genre, this is a very entertaining lark. "Bad Times at the El Royale" begins with the premise of a bad joke: A priest (Jeff Bridges), a soul singer (Cynthia Erivo), a traveling salesman (John Hamm), and a cult leader (Chris Hemsworth) converge at a once-hip but largely forgotten hotel on the California/Nevada border. There's also a rogue F.B.I. agent, the secret machinations of J. Edgar Hoover, callbacks to the Vietnam War, and even strong allusions to John. F. Kennedy assassination conspiracies. "Bad Times at the El Royale" is the creation of writer-director Drew Goddard, who also conceived the 2011 horror deconstruction project "The Cabin In The Woods." This has a similarly playful conceit, but for the neo-noir crime genre with an Agatha Christie "everyone-is-a-suspect" formula. Goddard's story gets absurdly twisty by way of its mystery meta-commentary, packed with as much mid-century detail as the hotel's excellent retro set. "Bad Times" might be overstuffed, but the kitchen-sink sprawl brings lively new energy to an old formula. "In a Lonely Place" from 1950 is Humphrey Bogart's most underrated film. Bogey plays gifted but washed-up Hollywood screenwriter Dixon Steele. He's beyond cynical about the business and life in general but takes a job adapting a trashy novel that doesn't interest him. When he finds out the hat check girl at his local watering hole knows the book, he brings her home so she can tell him the story. It's a seductive ploy, maybe, but when she's soon found dead Dixon becomes the main suspect. Undaunted, he begins an affair with his neighbor (Gloria Grahame) but as his strange and boozy behavior escalates she begins to wonder if the man she loves could really be a killer. Bogart is playing the same kind of fast-talking, brooding, world-weary tough guy he usually inhabits, but in the context of the murder mystery, this legendary persona becomes downright suspicious. Under the glare of interrogation, his devil-may-care flair reads as glib and downright psychopathic ... at least if he's guilty. This is one of the best uses of the audience's preconceived notions about an actor in any Hollywood film. Bogart never worked with Alfred Hitchcock, but the psychological brinkmanship of this plot is the closest analog from the star's indelible canon. Movies based on board games have a challenging history. It's still hard to fathom how "Battleship" from 2012 got a greenlight from Universal Pictures given that the game doesn't have even the semblance of a story. Clue the board game, on the other hand, is a whodunnit like any good Agatha Christie novel. The 1985 adaptation sticks to the deductive premise thanks to solid work by "My Cousin Vinny" director Jonathan Lynn and a nice inciting premise invented by scribe John Landis of Michael Jackson's iconic "Thriller" music video fame. The ensemble cast is invited to a remote mansion as each has been the victim of a blackmail scheme. Once they arrive they take pseudonyms borrowed from the game (Professor Plum, etc) and are introduced to their extortionist. Each "player" is then given a weapon from the game and asked to kill the blackmailer. That's when the lights go out. When they come back on, the organizer of this devious game is dead, not the blackmailer, and everyone is a suspect. The setup is irresistible and the execution is endearingly tongue-in-cheek. "Clue" retains all of its campy charms and has aged into a real vintage delight. Russell Crowe and Ryan Gosling had a serious bromance during their extensive press tour for this 2016 detective comedy by the legendary "Lethal Weapon" scribe turned director Shane Black. The superstar's onscreen chemistry is definitely this underrated film's main draw. Gosling plays a bumbling Los Angeles private detective in the late 1970s. Crowe is an enforcer type, in the vein of "Ray Donovan" but not nearly as high-end. The duo forms an unlikely team when a young woman (played by the luminous Margaret Qualley) goes missing. From there "The Nice Guys" is a playful descent into tropes of the Los Angeles crime noir underworld, but clumsier, in the amusing-yet-solidly-plotted vein of Robert Altman's "The Long Goodbye." "The Nice Guys' scratches that murder mystery itch and checks off all the right buddy cop boxes too. Black's script isn't quite as off-beat and amusing as Gosling and Crowe are together in real life, and maybe that's a reminder of why the best American comedies so reliably cast improv masters like Will Ferrell or Jonah Hill. However, the casting of two dramatic movie stars playing it straight — and yet against type — is a very enjoyable novelty. If you can commit to the nearly two-hour runtime, this is a mystery comedy worth investigating yourself. Audrey Hepburn was tossed into several awkward May-December romance roles during her iconic career. Her sexless onscreen affair with Humphrey Bogart in "Sabrina" from 1954 is the most uncomfortable to watch. The word from the set was that Hepburn was just 24, while Bogey was 54 and "looked old enough to be Audrey's grandfather," according to the book "Audrey and Bill" (via Mail Online). "Charade" from 1963 has a bit of that dynamic too. Hepburn was 33 while Cary Grant was 59, but even well into his grey hairs Grant cuts a dashing figure, and at this point in Hepburn's career she was no longer an ingenue. She was playing a much more worldly woman coming out of an unhappy marriage, so the romance plot plays better, despite the 25-year age gap. What really works in "Charade" is the murder mystery. Peter Joshua (Grant) and Regina Lampert (Hepburn) meet cute on a ski trip in the French Alps. They're both coming out of failed marriages, but when they return to Paris, Regina's husband has been murdered. Peter and Regina uncover a motive involving her husband's ill-gotten gains plundered in World War 2, but when Peter's identity comes into question things really get interesting. Grant's fumbling, gentile big-screen persona makes him the perfect movie star to pull off a deception in plain sight. This is a charming and light-hearted murder mystery caper and a must for fans of these two old Hollywood legends. "Kiss Kiss Bang Bang" is a film noir parody with a genuinely entertaining crime plot of its own. This is the ultimate meta murder mystery for cinephiles who have seen it all. Even the odd title is taken from a 1968 collection of Pauline Kael essays. Kael is undoubtedly the most influential American film critic (at least when it comes to influencing filmmakers), and she gets a loving nod here from those in the know. Like any good movie about movies, it stars actors playing actors. Robert Downey Jr. is Harry, a small-time crook who goes out for a part in a mystery film. He lands it when he starts confessing to a real crime because the director thinks he's just method acting. When he next links up with an old flame (Michelle Monaghan) and a hard-boiled private investigator (Val Kilmer) the trio come across a dead body and accidentally frame themselves for the murder ... sort of. The plot is a comedy of errors as the three are sucked into a familiar film noir underworld while trying to solve the mystery. This is another caper from legendary Hollywood scribe Shane Black of "Lethal Weapon" fame and his best auteur effort as a writer-director, in the vein of his other noir sendup "The Nice Guys." Downey and Kilmer are fantastic, while Black's story and direction amount to an immensely entertaining love letter to the murder mystery and noir genres. If you love detective stories with righteous vindication plots then "In the Heat of the Night" from 1967 remains a thrill. The great Sidney Poitier plays Detective Virgil Tibbs, a black homicide detective from Philadelphia arrested for murder by racist Mississippi police chief Bill Gillespie (Rod Steiger). Tibbs quickly demonstrates his innocence but then reluctantly agrees to help his accuser track down the real killer. The moment the racist cop humbles himself and asks Tibbs to help with this small-town murder investigation is the film's best moment. "Why can't you look at it for yourself!?" Poitier shouts, still justifiably angry at his accuser. "Because I'm not an expert," admits the Gillespie with his tail between his legs. "In The Heat of The Night" probes the era's color and class lines but puts forward the optimistic notion that the thin blue line comes first. Maybe in real life, Gillespie wouldn't so quickly swallow his pride, but this film is a standout of Hollywood's civil rights era vision for racial reconciliation, and it's beautifully done. Poitier's detective nobly overcomes his outrage partly because he can't help himself. He's a true detective, and solving murder mysteries is what he does. This is a classic about Black excellence and racial healing, built atop a taut procedural that will keep you hooked until the real crook is booked. "Gosford Park" is just "Downton Abbey" if someone suddenly assassinated Lord Grantham. This 1991 murder mystery from director Robert Altman and scripted by "Downton Abbey" creator Julian Fellowes was certainly the impetus for that seminal series. It's an upstairs-downstairs dramedy set in an aristocratic English country estate in 1932. It even features Maggie Smith as a snobbish, silver-tongued matriarch, Lady Trentham, whose name even rhymes with her more amusing "Downton Abbey" dame, Lady Grantham. The fantastic ensemble of notable British and American stars descend on a lavish country manor for a long weekend of dining, after-dinner boozing, and shooting at pheasants, but when one of the least-liked elites is murdered everyone is a suspect. Other notable performances include a young Ryan Phillippe as a randy footman who tries to bed every woman he meets, upstairs and down. Fellowes loves the archetype of the sexy and sex-obsessed servant. Clive Owen broods as another dashing footman with a mysterious past. Bob Balaban is meta perfection as a Hollywood producer coincidentally (perhaps?) researching a film he's making about a murder mystery set in an English country home. Kelly Macdonald is the real star, though, playing an observant ladies' maid who pieces together the tawdry puzzle. "Gosford Park" is a brilliant proto "Downtown Abbey." Fellowes cut out the cynicism in his strikingly similar TV tribute to this bygone era, but otherwise it's a copy-paste premise and an utter delight in both incarnations. "Blow-Up" is worth at least skimming if you want a full arsenal of pretentious film school references. Like "The Conversation" (below) this is a murder mystery about the ambiguity of evidence, this time hinging on the reliability of celluloid itself as a simulacrum for real events. This was the first English-language film of Italian director Michelangelo Antonioni, working in the far-less commercial industry of western Europe. Both French and Italian directors at the time were experimenting with form and questioning whether cinema had to be about telling stories at all. "Blow-Up" feigns a mystery plot when a London fashion photographer thinks he's accidentally taken a picture of a murder. He obsesses over every piece of film grain trying to enhance a gun-like splotch. A femme fatale type eventually shows up and wants the photos. Is she part of the plot? If this were the American imitation "Blow Out" by Brian De Palma in 1981, this woman would eventually be spoon-feeding us a grand explanation. Since it's a mid-century Italian film, "there is no spoon," as that Buddhist kid from "The Matrix" would say. "The Conversation" is about paranoia and that deep sense that someone is watching ... or in this case, listening. In the conspiracy-minded Watergate era, director Francis Ford Coppola was considering a concept that was definitely in the ether. An unusually reserved Gene Hackman plays surveillance expert Harry Caul, a solemn private eye in the body of a tech whiz who gets hired by a suspicious client to spy on a young couple. Caul gets fixated on one ambiguous recording and soon thinks everyone involved is in danger. This is a "new" Hollywood classic as the industry took an iconoclastic turn in the 1970s towards experimentation. It's essentially an audiophile's version of Alfred Hitchcock's 1954 film "Rear Window" in which Jimmy Stewart thinks he sees a murder, but can't be sure. Decades after Coppola made the three greatest films of all time back-to-back-to-back with "The Godfather I & II" and "Apocalypse Now" the director is less present in pop culture than his prolific contemporary Martin Scorsese. Coppola's final Godfather film in 1990 was disastrous. His "Bram Stoker's Dracula" in 1992 is so gratuitously pretentious it's an absolute good-bad masterpiece totally worth watching. Before he hit a creative brick wall, Coppola was one of the best filmmakers America ever produced and this is an important work from the legendary auteur's heady prime. "Brick" is the early-career brainchild of galaxy-brained Hollywood writer-director Rian Johnson ("Looper," "Knives Out"). This low-budget neo-noir was his first full-length feature in 2007 but showed off the auteur's cinephile bonafides reminiscent of other filmmaking savants like Quentin Tarantino or Martin Scorsese. The joke of "Brick" is that it's a noir murder mystery in the vein of a Humphrey Bogart classic but the entire cast is aughts high school kids riffing like anti-heroes from the black and white 1940s. Nobody nods and winks at the camera. It's all played dead serious even during a crucial scene as a teenage drug kingpin's mother serves cookies and milk. Joseph Gordon Levitt wants answers when he finds his ex-girlfriend's dead body. As he roves from the jocks to the drama kids, party girls, and burnouts, the complex noir plot snakes through the parallel hierarchies of public school cliques. The great thing about "Brick" is that seeing a bunch of kids acting in the affected style of mid-century noir really puts in relief the genre's tropes. "Brick" is a loving homage to the noir form by a writer-director who has continually added fresh takes to established genres. Films based on novelist Agatha Christie's sensibilities are a small genre unto themselves. "Death on the Nile" kept her actual work alive in 2022. The British scribe is by many estimates the best-selling author of all time. Her work is a bit like "Law and Order," ripped from the headlines and turned into twisty whodunnits. Sidney Lumet's 1974 adaptation of Christie's most famous novel "Murder on the Orient Express" is still the high-water mark for this train-set caper. It starts with a similar scenario to the abduction of the Lindbergh baby. Two years before the 1934 novel, the infant child of world-renown aviator Charles Lindbergh was taken from his home. A ladder was left against the open nursery window, a trail of muddy footprints, and a ransom note demanding $50,000. A dramatic cat-and-mouse negotiation ensued but the child was found dead and a German immigrant was later executed for the crime. Albert Finney, Ingrid Bergman, Sean Connery, Lauren Bacall, and Anthony Perkins lead a walk-of-fame cast that's hard to beat. There's also a 2017 remake by Kenneth Branagh that received a lukewarm reception. It's perfectly acceptable if you can't get past the blown-out highlights of 1970s film stock. Lumet's original got a solid anamorphic digital restoration in 2017 that looks good but the version most available to stream is a muddy-looking crop to 16x9, a borderline criminal disservice to this historic film. Elliot Gould plays private eye Phillip Marlowe quipping his way through "The Long Goodbye" in a relaxed counterculture version of the character that influenced Jeff Bridges' burnout detective "The Dude" in "The Big Lebowski." It's a long way from the manic, fast-talking take on Marlowe from Humphrey Bogart in "The Big Sleep" decades earlier. Gould's Marlow has no shadowy office and no svelte secretary. He works from home where he's so busy muttering to himself and doting on his cat that he hardly notices the hippy girls doing nude yoga outside his window. Director Robert Altman's playful adaptation of Raymond Chandler's pulpy detective novel instantly grabs you by keeping the camera trained on this chilled-out detective. The film doesn't have the stark compositions of classic noirs like "The Third Man," but Altman's roving camera is so sure-handed this 1973 classic could almost be mistaken for a modern film shot on steadicams. The plot kicks off when an old friend named Terry Lennox shows up at Marlow's door in the middle of the night covered in scratches. Terry admits to a fight with his wife and wants a lift to Mexico. Marlowe is so low-key he agrees but when both Terry and his wife are found dead, a conspiracy plot comes knocking too. Lists like these often recommend old films that play like long novels: They're rewarding if you can get through them. "The Long Kiss Goodbye" is pure murder mystery pleasure credits to credits. "Sleepy Hollow" is Tim Burtons' most underrated film and perfectly marries his love of gothic fairy tales and light-hearted humor. This 1999 retelling of Washington Irving's story first published in 1819, takes practical-effect inspiration from British Hammer Studio horror films of the 1950s and 1960s. These films upped the ante from golden-age monster movies with graphic scenes of gore and fancifully colored spurting blood. Burton's vision could come off a little over-the-top if you're not hip to the homage. Per usual the goth kid auteur casts his pale-skinned muse Johnny Deep to play an unusually handsome but no less comic version of Ichabod Crane. The New York City Detective is called to the small town of Sleepy Hollow to investigate a series of murderers we know too well ends in the appearance of a headless apparition, played by Christopher Walken. The broad strokes of this story date at least as far back as the 14th-century poem "Sir Gawain and The Green Knight," which also got an excellent adaptation in 2021. There is no better filmmaker to combine American folklore and mid-century monster movie sensibilities than Burton at the '90s peak of his powers. When "Scream" came out in 1996 Hollywood had already been churning out suburban slasher flicks like "Halloween" for 20 years. "Scream" director Wes Craven had personally taken the genre into a more supernatural realm with the "A Nightmare on Elm Street" franchise in the 1980s. "Scream" screenwriter Kevin Williamson's whodunit script is most notable for its ironic and self-aware meta-commentary. It's a brand of movie humor steeped in pop cultural references that probably peaked with "Juno" in 2007. The style transforms reckless teens into wise-cracking cultural sages who never run out of pithy rejoinders. Jamie Kennedy is the movie's resident horror movie expert and his succinct summary of slasher tropes is meta-cinematic nirvana. This ironic guide to survival includes: avoiding sex, avoiding drugs, alcohol, and, "never, ever say 'I'll be right back,' because you won't be right back." Of course, this knowingness is also hubris that gets these kids killed as a mysterious masked murderer cuts through half the excellent cast. The carnage includes Drew Barrymore playing a sacrificial lamb slaughtered in the first scene. It's an ode to films like "Psycho" where a movie star is butchered in the opening act for shock value. "Scream" is a thrilling aural history of slasher flicks tucked cleverly inside an actual slasher film and it's no surprise the sequels continue to pile up. This might as well be a list of David Fincher films as cinema's master of neo-noir thrillers did it again in 2011 with "The Girl With The Dragon Tattoo." Some have argued the original 2009 Swedish adaptation of Stieg Larsson's novel felt more true to the story's Scandinavian roots, but there's no better craftsman than Fincher and if he remakes your movie, you probably have the second-best film. Larrson died of a heart attack at age 50. Like his main character and obvious avatar Mikael Blomkvist, Larsson was a middle-aged magazine founder dead-set on taking down right-wing extremists. So when he died suddenly right before his books became global sensations, conspiracies about shadowy forces swirled. The New York Times had a more grounded theory. The writer may have caffeinated himself to death: "Larsson's is a dark, nearly humorless world, where everyone works fervidly into the night and swills tons of coffee; hardly a page goes by without someone 'switching on the coffee machine.'" All this is an intriguing footnote to Fincher's cyberpunk thriller about Blomkvist partnering with hacker Lisbeth Salander to solve a cold case murder. The pulsing rhythms of Fincher's adaptation include Karen O's plaintiff wales on an otherwise industrial score by frequent Fincher collaborator Trent Reznor. This remake is a pure shot of espresso for the tired murder mystery genre and admittedly has more zip than the excellent original adaptation. In 2000 Christopher Nolan's stunning breakout "Memento" announced the arrival of a filmmaking savant with a knack for reviving every Hollywood genre he touched. Just as "Inception" reimagined action and "Dunkirk" re-thought the World War II genre, "Memento" turns mystery filmmaking on its head. Not only is the identity of the killer an open question, but the hero's own mind is a riddle wrapped in one of the most inventive puzzle plots ever put to celluloid. A young Guy Pearce plays Leonard, a man who loses the ability to make new memories after taking a blow to the head while witnessing the murder of his wife. He's determined to track down her killer, but with no short-term memory, every clue he collects must constantly be rediscovered and questioned. Nolan and his scribe brother Jonathan are masters of high-concept screenplays which often focus on the peculiarities of time. Jonathan penned the short story called "Memento Mori" on which the film is based. It's a Latin phrase meaning, "remember, you are mortal." Victorious generals in ancient Republican Rome would designate a slave to whisper this incantation into their ears during the ecstatic heights of ritual Roman military parades. As Leonard seeks vengeance on his wife's killer, we discover he may already have gotten his pound of flesh, but how could he know for sure? Living with no memory is like living outside time as Leonard's tragic earth-bound immortality becomes a permission slip for evil. "Rear Window" is Alfred Hitchcock's 1954 ode to his own voyeurism. The iconic director was well known for his fixation on his leading ladies, but the rotund Brit allegedly hated his own appearance and was relegated to admiring women from afar. A 2016 Hitchcock biography (via Daily Mail) claimed the director had a sexless marriage and was "obsessed" with the personal lives of the blonde stars he worked with like this film's second lead, Grace Kelly. "Rear Window" is among the most Freudian films ever made. Hitchcock cast Jimmy Stewart as the stand-in for himself named Jeff, a photographer trapped inside his sweltering New York apartment after breaking his leg on assignment. As he convalesces from a wheelchair, Jeff becomes obsessed with spying on the neighbors in his building's elaborate courtyard. Sometimes he even pulls out long camera lenses to get a better look at a golden-haired dancer he's dubbed "Miss Torso." When Jeff thinks he's witnessed a murder, this peeping-tom detective needs more proof before the supposed killer turns his attention on this immobile witness. Hitchcock allegedly felt he was deformed. He lived a guilt-fueled life of repression peppered with the twisted fantasies he put onscreen. Jeff is Hitchcock's impotent voyeur. He's sexless, physically limited, and spends his days trapped in fantasy that combines sex and murder. "Basic Instinct" is mostly remembered for Sharon Stone's eye-popping turn as a twisted man-eater who squirms out of a police interrogation with a strategic uncrossing of her legs. Yet the film is more than the sum of its racy memes. Exhibit 1: the lurid script sold for a record $3 million in 1990, according to screenwriter Joe Eszterhas. Amazingly, he told the AV Club he penned it in only 13 days. This 1992 neo-noir thriller helmed by gonzo king Paul Verhoven ("Robocop," "Total Recall") uses explicit sexuality to elevate the femme fatale into a physically formidable rival. Stone's clever crime novelist Catherine Tramell is suspected of dispatching her rockstar boyfriend in a brutal sex slaying. When police detective Nick Curran (Michael Douglas) gets tasked with the investigation, he immediately finds Tramell a person of interest ... and that's exactly how she wants it. "Basic Instinct" has some of the most graphic extended sex scenes in R-rated cinema history, and like the comparably subtle Alfred Hitchcock classic "Vertigo" the more this cop becomes taken with his subject the more he's pulled into her vortex. Even as Catherine seduces Nick, his conviction that she's a killer only adds to the forbidden passion of their psycho-sexual connection. This is the noir where sex and death are most explicitly intertwined. "Basic Instinct" borders on the pornographic, but always in service of a riveting thriller plot. In other words, it's a Hitchcock film if he'd lived to work in the anything-goes early '90s. It's not often Hollywood treats us to a murder mystery with blockbuster visuals starring one of the industry's biggest stars at the peak of their powers, but that's what we got from underrated director Andrew Davis (the man behind excellent '90s thriller "A Perfect Murder") with "The Fugitive." Based on the original TV series from 1963, Harrison Ford plays respected doctor Richard Kimble. When his wife is brutally murdered during a home invasion he takes the rap but escapes during a prison transport gone wrong. Once on the lamb, Kimble must find a mysterious one-armed man he thinks killed his wife before a federal marshal played by Oscar-winner Tommy Lee Jones (at his crotchety best) can haul him in. "The Fugitive" is, unfortunately, the kind of movie that doesn't get made anymore: a mid-budget mystery for adults. There are no superpowers, no world-ending MacGuffins. The most challenging scene to film was certainly the train crashing into Kimble's prison bus, for which Warner Bros. wrecked an actual choo-choo in 1993. This incredible stunt is both unimaginable today and probably unnecessary considering CG capabilities. "The Fugitive" holds up, but also, no one has really bothered to top it. "Mystic River" isn't Clint Eastwood's best film — that's obviously "Unforgiven" — but it is the legendary actor/director's most studio-polished piece of work. Eastwood is known for capturing scenes in one take and moving on. It's an actor-friendly style that made him prolific even into his '90s. It's also created some unevenness in his canon (see "Cry Macho" for details). "Mystic River" is an Oscar-winning film where the auteur's craft really flows. The story follows three Boston-area friends in the 1970s riven by trauma when one is abducted and sexually abused. Decades later, the men have gone their separate ways. Tim Robbins plays the victim grown-up, brooding in the shadow of this horror. Sean Penn matures into a small-time gangster and loyal family man, but when his daughter is murdered the third in his old trio (Kevin Bacon) is named lead detective, and the other (Robbins) becomes the prime suspect. Like all great mystery films, the killer must be hidden in plain sight. Maybe the trauma these men suffered has created a monster, but which of them is it, really? "Mystic River" is in the mode of Greek tragedy, dressed up in 20th-century garb. Like Oedipus, it's about the inescapability of destiny. These men living on the working-class shores of Boston's actual Mystic River can make peace with the flow of time, or not. That's up to them. The tides of fate are coming in either way. In "The Third Man," paperback western writer Holly Martin (Joseph Cotton) arrives in Vienna to stay with a friend named Harry Lime (Orson Welles) only to find he's been killed. Lime's mysterious girlfriend seems to know more than she says, and so does everyone else. What unfolds is a story of corruption rooted in the black markets of post-war Europe. Director Carol Reed's mystery noir is often considered the best British film of all time. Its lighthearted style and elegant mise-en-scene clearly inspired the oeuvre of Wes Anderson, Steven Soderbergh, and the early crime capers of Guy Richie, but it does have one amusing flaw. It somewhat overuses the off-kilter framing of the Dutch angle, a noir trope meant to signify mysterious happenings, but there's no psychological logic behind the technique. Some shots are crooked. Some aren't. After the film debuted, fellow director William Wyler sent Reed a spirit level with a note attached: "Carol, next time you make a picture, just put this on top of the camera, will you?" notes Indiewire. This style choice accents one of the most beautiful films ever shot in high-contrast black and white. The streets of Vienna shimmer, particularly at night, with great beams of backlight flooding the cobblestone boulevards and casting long shadows on the ruins of this historic city in murky decline. Reed worked so tirelessly achieving the film's glorious aesthetic he developed an addiction to Dexedrine to keep up with his 20-hour a day shooting schedule. "Gone Girl" points out that we social animals wear our identities like costumes. We all play different roles with parents or siblings or lovers. The dynamics can be so different it raises real questions about the self. The story drills down on the unsustainable lie of our romantic courtship personas, and how that charade can mean some spouses only truly meet long after they tie the knot. Ben Affleck and Rosamund Pike play a seemingly idyllic suburban couple, Nick and Amy Dunne. Nick is a handsome dilettante and Amy is a spoiled-but-thwarted overachiever, embittered about playing the "cool girl" for too long as she puts up with Nick's aimlessness. They gave up their big-city life for stability, but when Amy vanishes a trail of clues points to the dark cracks in this marriage. This is another neo-noir by David Fincher, the undisputed modern master of the genre. The filmmaker's exacting visuals are a stark contrast to the messy sprawl of this twisty and blood-spattered revenge thriller. It's hardly a spoiler to say more is going on than a missing person's case. "Gone Girl' borders on a black comedy about keeping things going for appearance's sake. It asks a question that can haunt any intimate relationship: Can you ever truly know someone else's mind? If not, what evils is your spouse actually capable of? "Knives Out" is one of the most delicious murder mysteries ever thanks to the savant-stylings of writer-director Rian Johnson of "Looper" and "Brick" fame. Johnson applies his wry meta-cinematic wit to a whodunnit in the style of "Clue." The radiant Ana de Armas plays a nursemaid for a wealthy novelist (Christopher plumber). When the great man dies under suspicious circumstances his good-for-nothing family starts circling like vultures. That's when Daniel Craig doing a Foghorn Leghorn southern drawl as Detective Blanc shows up to put the whole clan under his magnifying glass. While penning the airtight script that cuts deep into this bourgeois family's dysfunction, Johnson was on a mission to prove himself. He'd heard the feedback from the extreme online community who hated his "Star Wars: The Last Jedi." The director wanted to make "Knives Out" engage with "the current state of online culture," he told Deadline in 2019. Every modern filmmaker telling a contemporary story has to decide if the ubiquitous smartphone will be a part of their film. Johnson wanted this Agatha Christie-inspired story to be very much of its time, so the phones, as well as the knives, are out in the screenplay he populates with characters "who for better or worse you could only meet in 2019." "Zodiac" might be the greatest murder mystery of all time about an unsolved case. We usually love the genre for its proverbial page-turning tension en route to an "ah-ha" catharsis, but director David Fincher's 2007 film is up to something very different. The killer who haunted the San Francisco area of the late 1960s and early '70s was never caught, so a rock-solid resolution can't be the payoff. Fincher still crafts a methodical whodunit with an eerie parade of suspects. Jake Gyllenhaal plays the real San Francisco Chronicle cartoonist Robert Graysmith, who gets obsessed with the case when the killer begins sending coded clues to the newspaper where he works. Graysmith is slowly undone by this unsolvable riddle. In 2021 a cold case team plausibly claimed to have finally cracked the long-mysterious Zodiac ciphers and identified a supposed rural gang leader, Gary Francis Poste, as the killer. Poste died in 2018, so perhaps again eluded justice, but his name turned out to be the code's key. The question was the answer. Poste probably enjoyed this logician's joke, as an encrypted version of his name was printed in every major newspaper. "Zodiac" makes no mention of this latest real-world suspect but it doesn't matter. The killer's twisted infinite jest is the point. "L.A. Confidential" is a neo-noir in the style of "Chinatown" that delves into all the dimly-lit decadence of mid-century Los Angeles, but it stands above many noirs for telling a compelling murder mystery to boot. Many of the best classic detective noirs like "The Third Man" or "The Big Sleep" have plenty to recommend but sag somewhat with episodic story structures where one clue leads to another in a long black-and-white blur of dames and names, until the 90-minute mark when somebody finally spills. "Confidential" has the virtue of encasing both the deeper anti-hero themes of classic noirs while telling a taut detective tale that keeps you anchored to the plot. Guy Pearce heads the stellar cast as Exley, the son of a murdered detective who discovers the city's corruption may have killed his old man. Kevin Spacey plays a showboat cop and symbol of the city's circular grift. He feeds gossip to tabloids, consults for TV shows, and cares mostly about getting his name in the city's dishonest rags. Russell Crowe represents the old school, a brutal enforcer cop with a hair-trigger temper. His simmering conscience makes him Exley's only plausible ally to clean up a corrupt cop shop and root out the devils in the city of angels. "The Maltese Falcon" is the murder mystery that basically invented film noir. Cinematographer Arthur Edeson thought a dark tale should be shot in a visually dark style to match, and borrowed from German expressionism to create this shadowy 1941 masterpiece. Before this film, big Hollywood films often used lighting schemes closer to TV sitcoms where almost everything is evenly illuminated. Noir brought purposely crafted contrast to cinema, a stark style that also more accurately reflects the real world, suffused in both shadow and moral ambiguity. Humphrey Bogart plays private eye Sam Spade in John Huston's adaptation of Dashiell Hammett's pulpy detective novel. The plot sets a paradigm for the genre when a beautiful dame shows up at Spade's office asking for help finding her sister, but when Spade's partner is murdered Bogey's iconic detective is thrust into a mystery that involves the hunt for the film's titular treasure. Noir murder mysteries almost always envelop the hero under false pretenses, often in the form of a femme fatale. These alluring ladies are symbols of a romantic chase that is sure to end in disaster. They represent desire, not just for their beauty, but because they hold a weary secret. They're simultaneously in distress, but also a trap waiting to spring. As Bogey is pulled down the rabbit hole, Hollywood's biggest golden-age movie star chews every scene as he cuts the mold of conflicted American anti-heroes for decades to come. "The Hateful Eight" is mostly a dinner party whodunnit, like any game of "Clue." Kurt Russell plays the boisterous "hangman" bounty hunter John Ruth with a wanted fugitive chained to his arm. They're caught in a blizzard when they come across another bounty hunter played by Samuel L. Jackson. The group holes up at Minnie's Haberdashery, a rickety mountain cabin filled with suspicious characters. The only problem is Minnie is missing, and the man running her roadside rest stop doesn't seem too trustworthy. As the group waits out the storm, someone poisons the coffee and writer-director Quentin Tarantino has Jackson's character puzzling through the multiple murder plots. Tarantinos' fantastic eighth film is a lot more like a stage play than anything else he's ever done, and in fact, he's been threatening to retire from filmmaking and become a playwright. He might feel burned by Hollywood after the first draft of his "The Hateful Eight" script was leaked by a Gawker-affiliated website. Tarantino had only given the pages to three actors and it's amusing how the film mirrors this now-famous whodunnit as Tarantino examined his own inner circle for treachery. The final script certainly punishes the villain as Channing Tatum makes a memorable cameo in the hilarious and bloody finale. The best version of this film is the extended, episodic cut via Netflix. Somehow the interludes turn this very long film into an even longer series you will want to binge in one sitting. "Se7en" is a riveting procedural about the hunt for a biblically inspired serial killer who, even once caught, remains a mystery. David Fincher's 1995 masterpiece has had countless imitators ("Kiss The Girls," "The Bone Collector," "The Little Things") but none hold a candle. Denzel Washington was originally up for the Brad Pitt role but turned it down because he thought screenwriter Andrew Kevin Walker's gothic masterpiece of a script was too "dark and evil ... Then, when I saw the movie, I was like, 'Oh, shoot,'" Washington told Entertainment Weekly in 2010. Washington's loss was a young Brad Pitt's gain. Working with David Fincher was pivotal for the star, as the two would go on to collaborate on "The Curious Case of Benjamin Button" and "Fight Club." Pitt has assiduously avoided playing generic heroes, and "Se7en" marks a proof of concept for that position. In 2004 he got cajoled by Warner Bros. to play Achilles in the entertaining-but-cheesy "Troy." He swore by the gods he'd never do that again. "I'm following my gut from here on out," he said of his disappointment with the finished film. Pitt hated all the generic hero shots, the lack of an auteur's specificity. "I'd become spoiled working with David Fincher," he understandably explained. Decades later, the duo's grisly murder mystery remains the pinnacle of both iconic artists' mighty careers.
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6282	dbpedia	3	58	https://www.sftravel.com/article/san-francisco-screen-where-famous-films-tv-shows-were-shot-around-city	en	San Francisco On Screen Where Famous Films and TV Shows Were Shot Around the City	https://www.sftravel.com…bp?itok=H1gzlgwr	https://www.sftravel.com…bp?itok=H1gzlgwr	[ "https://www.sftravel.com/sites/default/files/styles/horizontal_3_2/public/2023-04/SFTravel_2021_141-medium.jpg.webp?itok=Leqs-0Lv", "https://www.sftravel.com/sites/default/files/styles/horizontal_3_2/public/2022-09/california-academy-of-sciences-dinosaur.jpg.webp?itok=aZk5OLLa", "https://www.sftravel.com/sites/default/files/styles/horizontal_3_2/public/2022-10/crab-legs-stacked-in-bowl.jpg.webp?itok=hbivUmSW", "https://www.sftravel.com/sites/default/files/styles/horizontal_3_2/public/2022-10/cable-cars-downtown-san-francisco.jpg.webp?itok=GiWB7QY4", "https://www.sftravel.com/sites/default/files/styles/hero/public/2022-11/alamo-square-park-picnic-painted-ladies.jpg.webp?itok=YdVl9lcr", "https://www.sftravel.com/sites/default/files/styles/square_small/public/2022-09/tyler-cohn-headshot.jpg.webp?itok=KqhcqM4y", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2023-02/bart-train-sfo.jpg.webp?itok=ZlKgoy7Q", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-09/san-francisco-skyline-from-the-air.jpg.webp?itok=vuU7bQoD", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-10/hardly-strictly-bluegrass.jpg.webp?itok=OnwY14lW", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-12/haight-ashbury-street-scene-%40natphase-small.jpg.webp?itok=7L5t5Yom", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2024-03/nothingforgetten-Instagram-2576-ig-1958943183119687084.jpg.webp?itok=g12AJB2N", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-10/mission-murals.jpg.webp?itok=MrU2Vvuc", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-10/birthday-girl-with-balloons.jpg.webp?itok=CSzQgfVO", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2022-11/haight-ashbury-sign.jpg.webp?itok=6Qf3rGXt", "https://www.sftravel.com/sites/default/files/styles/square_medium/public/2024-04/Japanese_tea_garden_ggp_temple-optimized.jpg.webp?itok=aH2xjZTZ", "https://www.sftravel.com/sites/default/files/styles/hero_short/public/2022-08/golden-gate-bridge-bay-sunset.jpg.webp?itok=jQgo8M1F", "https://www.sftravel.com/themes/custom/sftravel_theme/images/busa-logo-white.svg", "https://www.sftravel.com/themes/custom/sftravel_theme/images/VisitCalifornia.png", "https://www.sftravel.com/themes/custom/sftravel_theme/images/united-airlines-logo.svg", "https://www.sftravel.com/themes/custom/sftravel_theme/images/sfo-logo.svg" ]	[]	[]	[ "" ]	null	[ "Tyler Cohn" ]	2022-12-15T12:34:53-08:00	Put yourself in your favorite stars' shoes by visiting these famous San Francisco locations made popular by film, TV, and streaming.	en	/themes/custom/sftravel_theme/favicon.ico	San Francisco Travel	https://www.sftravel.com/article/san-francisco-screen-where-famous-films-tv-shows-were-shot-around-city	The film industry might have started in Southern California, but San Francisco has a long and colorful history with film that will make any self-proclaimed film geek giddy. From cinema classics to today’s biggest blockbusters, San Francisco has made plenty of appearances on the silver screen. Here are some of our favorite film locations in the city when you get a chance to come visit. This modern-day "When Harry Met Sally" follows two childhood friends, Sasha and Marcus, as they reunite after years apart and explore their complicated friendship. This film has been celebrated for its diversity and celebration of Asian-American heritage, so there is no question that this story was made for San Francisco. Musée Mécanique The Embarcadero at Pier 45 As kids, Sasha and Marcus take pictures in the photo booth. Palace of Fine Arts 3601 Lyon St. Sasha takes Marcus as her date to a red carpet event. Pier 7 The Embarcadero Sasha and Marcus go fishing. “You got it, dude!” This beloved sitcom and its sequel have stayed in the hearts of millions for decades. While most of the show was filmed in a studio, the Tanners’ house is very real, even though its famous red door has gotten a paint job since filming. Alamo Square Park Steiner and Hayes streets This is the famous park across from the Painted Ladies featured in opening title sequence. Tanner-Fuller house 1709 Broderick St. Embracing the gay culture of San Francisco, "Looking" follows three gay friends traversing life and relationships in the city. San Francisco is shown in a new light, avoiding the overused sights in favor of lesser known icons and a more genuine representation of the city that centers around the Castro. El Rio 3158 Mission St. Patrick and Dom discuss relationships at Patrick’s ex’s bachelor party. The Press Club 20 Yerba Buena Ln. Patrick goes on an awful first date. Sutro Baths 1004 Point Lobos Ave. Patrick and Richie go on a date and talk about their pasts. One of 2021's biggest and most anticipated blockbusters was filmed extensively around San Francisco. From the towering skyscrapers of the Financial District to hidden alleyways in Chinatown, there are a number of iconic locations that stars Keanu Reeves and Carrie-Ann Moss frequented that you can see, too. Want to know how? Follow our "Matrix Resurrections" walking tour! House of Nanking 919 Kearney St. Neo and Trinity stop for lunch here. Joe and the Juice 235 Montgomery St. This juice bar was transformed into Neo's favorite coffee shop, the cleverly named Simulatte. San Francisco would not be what it is today without Harvey Milk. His story defines the fight for LGBTQ freedoms that spread throughout the country during and after his life. The filmmakers were able to film nearly all of the outdoor scenes at the actual historic locations. Harvey Milk Plaza 17th and Castro streets Harvey holds his first rally for gay rights by standing on a soap box. Twin Peaks Tavern 401 Castro St. This Bollywood film follows an Indian immigrant with Asperger’s syndrome, Rizwan Khan, who sets out on a journey across the nation after his son is murdered. Within this gut-wrenching film, the happiest scenes of Rizwan falling in love with his future wife are filmed in San Francisco. Coit Tower 280 Telegraph Hill Ave. Mandira says she will marry Rizwan if he shows her something in the city she hasn’t already seen. Corona Heights Park Corner of Roosevelt Way and Museum Way Rizwan brings Mandira to the peak to propose. This heartbreaking yet inspiring movie tells the tale of a father trying to raise his son after losing everything. Will Smith beautifully portrays the true story of Chris Gardner, who reaches success through hard work and persistence alone. 1592 Taylor St. At corner of Broadway St. Final shot of Chris and his son walking towards the Bay Bridge. Pacific Coast Stock Exchange 301 Pine St. Chris asks man with a Ferrari what he does for a living and is inspired to become a stock broker. The exchange now houses an Equinox Fitness Club. "Rise of the Planet of the Apes" puts a modern twist on the cult sci-fi classic. Starting atop the downtown skyscrapers and at the San Francisco Zoo, their uprising spreads throughout the Bay Area. If you’re looking to join Caesar’s tribe, head to the Muir Woods, where the apes eventually formed their own prosperous community. Muir Woods 10 miles north of the Golden Gate Bridge Caesar is introduced to nature and eventually builds a community. San Francisco Zoo 1 Zoo Rd. at the corner of Great Hwy. and Sloat Blvd. Where the apes free fellow primates during the uprising. Buy tickets to the San Francisco Zoo. While the story bounces around the world to places like Iceland, Nairobi, and Seoul, Nomi's story unfolds in San Francisco, a very fitting home for the proud, transgender, lesbian hacker. Billy Goat Hill Stairs at corner of 30th St. and Laidley St. Amanita takes Nomi out for a birthday picnic, City Lights Bookstore 261 Columbus Ave. Amanita works at a book reading. Clarion Alley Between Valencia and Mission streets Nomi tells Amanita about the strange visions she has been having. Homosexuality. Drug use. Nudity. Now common in today’s top-rated shows, these features were revolutionary on a public network in the original 1993 miniseries. The 2019 sequel has embraced these themes and, with an all-queer writing team, made it a mission to portray LGBTQ life in San Francisco accurately. Creator Armistead Maupin’s life and beliefs are reflected in the tenants of 28 Barbary Lane, the famous steps were filmed at the beautiful Macondray Lane in Russian Hill. Macondray Lane Steps are across from 1832 Taylor St. Eddie Brock (Tom Hardy) is involuntarily bound to the symbiote, Venom, and the two spend the movie learning how to utilize their new shared skills to fight evil. A great example of this is the motorcycle chase scene that peaks with a massive jump at the top of Taylor St. Hawk Hill Marin Headlands This is the location for Life Foundation headquarters. Transamerica Pyramid 600 Montgomery St. Venom scales the building. Tyler Cohn Tyler is the Sr. Manager of Global Content & Communications at San Francisco Travel. He has lived in San Francisco since 2015 and has been part of the San Francisco Travel team for just as long. He enjoys splashy production numbers and outdoor sporting events equally, which means you can usually find him at one of San Francisco’s many great theaters or at Oracle Park, cheering on the Giants.
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"https://ew.com/thmb/7ETHRoi-wX2QCLoHWOTm2Ej56Vs=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/best-thrillers-netflix-tout715-05132024-9356341cda494d5582047c35d82ce53c.jpg", "https://ew.com/thmb/7ETHRoi-wX2QCLoHWOTm2Ej56Vs=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/best-thrillers-netflix-tout715-05132024-9356341cda494d5582047c35d82ce53c.jpg", "https://ew.com/thmb/zTFUH_0jNlxbYSraZCL0W4wt8xc=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Hulu-comedies-010924-74e43004334d4d5c83568805e17dbe81.jpg", "https://ew.com/thmb/zTFUH_0jNlxbYSraZCL0W4wt8xc=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Hulu-comedies-010924-74e43004334d4d5c83568805e17dbe81.jpg", "https://privacy-policy.truste.com/privacy-seal/seal?rid=66410a94-db48-4a68-8eae-de35e6397332" ]	[]	[]	[ "" ]	null	[ "Tyler Aquilina", "www.facebook.com" ]	2019-11-14T13:23:41-05:00	'All the President's Men,' 'The Report,' 'Dark Waters,' and more are among the top cinematic whistleblowers to watch.	en	/favicon.ico	EW.com	https://ew.com/movies/20-whistleblower-movies-to-watch/	01 of 17 On the Waterfront (1954) On the Waterfront tells the tale of Terry Malloy (Marlon Brando), a boxer-turned-longshoreman whose guilty conscience slowly turns him against the mob-connected union leader who rules the docks. The Oscar-winning classic also had its roots in a different sort of whistleblowing: At the height of the McCarthy era, Waterfront director Elia Kazan became a pariah in Hollywood for naming former Communists to the House Un-American Activities Committee. This film is often viewed as Kazan's response to his detractors, and the parallels aren't hard to spot. 02 of 17 Serpico (1973) In between playing a mafia boss in The Godfather and its sequel, Al Pacino took on the titular role based on Frank Serpico, an NYPD officer who became determined to expose the widespread corruption within the force. The film remains regarded as a classic today, anchored by Pacino's typically fierce performance and Sidney Lumet's sterling direction and use of New York City. 03 of 17 All the President's Men (1976) Still the journalism movie all others aspire toward, All the President's Men tracks Washington Post reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) as their diligent work steadily uncovers the full breadth and depth of the Watergate scandal with the help of an anonymous source, Deep Throat. 04 of 17 Silkwood (1983) Legendary director Mike Nichols (The Graduate) helmed this drama based on the life of Karen Silkwood (played by Meryl Streep), who died in a mysterious car crash while investigating harmful practices at the nuclear plant where she worked. Kurt Russell and Cher costar as Silkwood's boyfriend and housemate — which, on paper, sounds like the setup for the world's best sitcom. But, in practice, Silkwood is a powerful slow burn, deep-diving into its subject's everyday life and burgeoning crusade. 05 of 17 The Insider (1999) Pacino picked up the whistle again, this time alongside Russell Crowe, in The Insider, playing a 60 Minutes producer who pushes to bring Jeffrey Wigand's (Crowe) damning account of the tobacco industry's practices to light. 06 of 17 Erin Brockovich (2000) With Pacific Gas & Electric making headlines again for their role in California's spate of wildfires, it's an apt time to revisit Steven Soderbergh's legal drama (for which he lost the Best Director Oscar...to himself, for Traffic). Erin Brockovich stars Julia Roberts as the title character, who discovers PG&E has contaminated a small town's water supply and masterminds a legal crusade against the company. 07 of 17 The Constant Gardener (2005) The Constant Gardener stars Ralph Fiennes as a Kenya-based British diplomat who, while investigating the murder of his wife (Rachel Weisz, in an Oscar-winning performance), uncovers the malicious conduct of a pharmaceutical company that she had been investigating. The film burns with the same moral urgency as the John le Carré novel it's based on; as the author noted, "By comparison with the reality, my story was as tame as a holiday postcard." 08 of 17 North Country (2005) Before helming Disney's live-action Mulan, Niki Caro directed Charlize Theron and Frances McDormand to Oscar nominations in North Country, which follows mineworker Josey Aimes (Theron) as she spearheads the first class-action sexual harassment lawsuit in U.S. history. Somewhat tepidly received upon release (EW called it "the right movie at the wrong time"), North Country is a necessary watch in the #MeToo era. 09 of 17 Michael Clayton (2007) If you like your whistleblower dramas a little more heightened, Michael Clayton, written and directed by Bourne writer Tony Gilroy, is the movie for you. George Clooney plays the eponymous character, a fixer for a high-profile law firm who falls into a web of intense corporate espionage involving one of the firm's clients. Also featured: Tilda Swinton as the client's ruthless lawyer and some tense sequences that validate the paranoia at the heart of all great whistleblower films. 10 of 17 The Informant! (2009) Almost a decade after Erin Brockovich, Soderbergh delivered a more askew take on the whistleblower tale with The Informant!, written by future The Report writer-director Scott Z. Burns. A game Matt Damon stars as Mark Whitacre, a high-level VP at a massive company who worked with the FBI to expose a price-fixing conspiracy there. The film stands out for its eccentric approach: Soderbergh packed the cast with comedians — Joel McHale, Patton Oswalt, even the Smothers Brothers — and adopted an arch tone that bugged as many critics as it impressed. 11 of 17 The Most Dangerous Man in America (2009) and The Post (2017) A few real-life whistleblowers have had their stories told onscreen through both documentary and dramatization. One such example: Daniel Ellsberg, the military analyst who leaked the Pentagon Papers and exposed secret U.S. government activity relating to the Vietnam War. The Oscar-nominated documentary The Most Dangerous Man in America tracks Ellsberg through the lead-up to the publication of the Pentagon Papers, while Steven Spielberg's The Post tells the story of the Washington Post journalists who published them, starring Meryl Streep as publisher Katharine Graham, Tom Hanks as editor Ben Bradlee, and Matthew Rhys as Ellsberg. 12 of 17 Fair Game (2010) If you want to relive more Bush administration-era outrages, allow us to recommend Fair Game, based on the 2003 Plame affair. That scandal revolved around the administration's outing of Valerie Plame (played by Naomi Watts) as a CIA operative, ostensibly in retaliation for her diplomat husband's (Sean Penn) criticism of the Iraq War. (He wrote a New York Times op-ed debunking the administration's WMD rationale.) The film shifts between spy thriller and domestic drama to explore, as EW's Owen Gleiberman put it, "What's greater, the price of hiding the truth — or telling it?" 13 of 17 We Steal Secrets (2013) and The Fifth Estate (2013) Remember when WikiLeaks was better known for whistleblowing than for helping interfere in U.S. elections? Alex Gibney's We Steal Secrets and Benedict Cumberbatch's The Fifth Estate can't help but look outdated now, but both fascinatingly chart WikiLeaks' history and paint vivid portraits of founder Julian Assange. 14 of 17 Citizenfour (2014) and Snowden (2016) Edward Snowden may be the most significant — and is certainly the most famous — whistleblower of the 2010s, with his revelations about the National Security Agency's surveillance practices reshaping our views on technology, privacy, and intelligence. Laura Poitras' Oscar-winning Citizenfour is an essential document, chronicling the days Snowden spent in Hong Kong making his initial disclosures to Poitras and two other journalists. Oliver Stone's Snowden, with Joseph Gordon-Levitt as the title character, is less essential, but helps illuminate the man himself and boasts a solid performance from Gordon-Levitt. 15 of 17 Official Secrets (2019) Official Secrets dramatizes a lesser-known (at least stateside) but no less vital whistleblower story — that of Katharine Gun (played by Keira Knightley). Gun, a British government employee, leaked a secret memo about an illegal NSA operation to pressure the UN Security Council to sanction the Iraq War. "What's interesting about this film is it's set in 2003...Yet it still feels like we don't have the conclusion of this story," Knightley told EW. "We're still very much living with it." 16 of 17 The Report (2019) The injustices of the War on Terror hang heavily over the movies in 2019. The Report follows Adam Driver as Senate staffer Daniel J. Jones, who led an investigation into the CIA's use of torture in the wake of 9/11. A star-studded cast playing a roster of familiar government figures surround Driver, including Annette Bening as Sen. Dianne Feinstein and Jon Hamm as President Obama's chief of staff. 17 of 17 Dark Waters (2019) Dark Waters shines a spotlight on Robert Bilott (played by Mark Ruffalo), a lawyer who undertook a decades-long battle with DuPont over the company's environmental contamination and cover-up. "I've gotten to know Rob very well and have a tremendous amount of admiration for him and the work that he's done," Ruffalo said in an interview. "[I want] to help have this information be disseminated out into the world. It's really important. It's been underreported, and it touches all of our lives. It transcends politics and ideologies. It's one place I think where we can meet communally."
6282	dbpedia	3	23	https://www.davidbordwell.net/blog/category/narrative-suspense/	en	Observations on film art : Narrative: Suspense	http://www.davidbordwell.net/blog/wp-content/uploads/Knives-700a.jpg	http://www.davidbordwell.net/blog/wp-content/uploads/Knives-700a.jpg	[ "https://www.davidbordwell.net/img/header.gif", "https://www.davidbordwell.net/img/header_cv.gif", "https://www.davidbordwell.net/img/b_home_f01.gif", "https://www.davidbordwell.net/img/b_blog_f01.gif", "https://www.davidbordwell.net/img/b_books_f01.gif", "https://www.davidbordwell.net/img/b_video_f01.gif", "https://www.davidbordwell.net/img/b_essays_f01.gif", "https://www.davidbordwell.net/img/b_articles_f01.gif", "https://www.davidbordwell.net/img/b_reports_f01.gif", "https://www.davidbordwell.net/img/bloghome.gif", "https://www.davidbordwell.net/img/cover_perplexingplots_100.jpg", "https://www.davidbordwell.net/img/cover_onthehistory_100.png", "https://www.davidbordwell.net/img/cover_reinventing_th.jpg", 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DB here: Now that a sequel, Glass Onion, has been announced for the Toronto International Film Festival, it seems a good time to look back at Rian Johnson’s first whodunit Knives Out. The effort has a special appeal for me because it chimes well with arguments I make in Perplexing Plots: Popular Storytelling […]		https://www.davidbordwell.net/img/favicon.ico	Observations on film art	https://www.davidbordwell.net/blog/2022/08/04/enter-benoit-blanc-knives-out-as-murder-mystery/	Knives Out (2019). DB here: Now that a sequel, Glass Onion, has been announced for the Toronto International Film Festival, it seems a good time to look back at Rian Johnson’s first whodunit Knives Out. The effort has a special appeal for me because it chimes well with arguments I make in Perplexing Plots: Popular Storytelling and the Poetics of Murder. I don’t analyze Knives Out in the book, but it would have fitted in nicely. The movie exemplifies one of the major traditions I study, the classic Golden Age puzzle, and it shows how the conventions of that can be shrewdly adapted to film and to the tastes of modern viewers. In addition, Johnson’s film supports my point that the narrative strategies of “Complex Storytelling” have become widely available to viewers, especially when those strategies are adjusted to the demands of popular genres. Historically, such strategies became user-friendly, I maintain, partly because of the ingenuity demanded by mystery plotting. Needless to say, spoilers loom ahead. Revisiting and revising The prototypical puzzle mysteries are associated with Anglo-American novels of the 1920s-1940s, the “Golden Age” ruled by talents such as Dorothy L. Sayers, Anthony Berkeley Cox, John Dickson Carr, Ngaio Marsh, Ellery Queen, and many others–supremely by Dame Agatha Christie. Similar books are still written today, often under the guise of “cozies” because they supposedly offer the comforting warmth of familiarity. Golden Age plotting flourishes in television too, in all those (largely British) shows about murder in supposedly humdrum villages. Knives Out relies on Golden Age conventions from top to bottom. A rich, odious family is overseen by a domineering patriarch, mystery novelist Harlan Thrombey. When he’s found dead in his mansion, apparently of suicide, his family members become nervous because each has a guilty secret. The conflicts are brought into focus when it’s revealed that Harlan changed his will so as to disinherit all his offspring. He leaves his fortune and his house to Marta Cabrera, the nurse who administered his medications and became his friend and confidant. Is there foul play? Investigating the case are are two policemen and the private investigator Benoît Blanc. They must decide whether Harlan’s apparent suicide is actually murder and if so, who’s the culprit. Johnson organizes his plot around many classic techniques. In the Golden Age, writers tended to fill the action out to book length by adding more crimes, such as blackmail schemes or a series of murders. Both of these devices are exploited in Knives Out. Marta is apparently the target of an extortioner, and the family housekeeper Fran is the victim of a poisoner. The film also employs the least-likely-suspect convention (a favorite of Christie’s) and a false solution (another way to fill out a book). Johnson supplies traditional set-pieces as well: the discovery of the body, a string of interrogations of the suspects, the assembling of suspects to hear the will read, and a denouement in which the master sleuth announces the solution by recapitulating how the crime was committed. The conventions are updated in ways both familiar and fresh. The sprightly music and the flamboyant bric-à-brac of Harlan’s mansion deliberately recall Sleuth (1972), another reflexive, slightly campy revisiting of murder conventions. Johnson wanted to evoke the all-star, well-upholstered adaptations of Christie novels like Murder on the Orient Express (1974, 2017) and Death on the Nile (1978, 2022). But he has courted younger audiences with citations (the title is borrowed from Radiohead) and social commentary, such as references to Trump, neo-Nazis, and illegal immigration. The Thrombey clan’s inability to remember what country Marta came from reminds us of something not usually acknowledged about Golden Age classics: they often provided satire and social critique of inequities in contemporary society. (In the book I discuss Sayers’ Murder Must Advertise as an example.) Like earlier Christie adaptations, Johnson’s film has recourse to flashbacks illustrating how the crime was actually committed. In Benoît Blanc’s reconstruction of the murder scheme, rapidly cut shots illustrate how the family black sheep Ransom sought to kill Harlan by switching the contents of his medicine vials, which would make Marta the old man’s murderer. But her expertise as a nurse unconsciously led her to switch the vials again, so she didn’t administer a fatal dose. This forced Ransom to continually revise his scheme, chiefly by destroying evidence of Marta’s innocence and trying to murder Fran, who suspected what he had done. All of this is carried by the now-familiar tactic of crosscutting Blanc’s solution with shots of Ransom’s efforts, guided by Blanc’s voice-over. At some moments, the alternation of past and present is very percussive, with echoing dialogue (“You’re not gonna give up that,” “You’ve come this far”). For modern audiences, this swift audio-visual revelation of the “hidden story” is far more dynamic than a purely verbal recitation like that on the printed page. Johnson tries for a more virtuoso revision of a classic convention in treating the standard interrogation of the suspects. Lieutenant Elliott’s questioning, followed by questions posed by Blanc, consumes an astonishing sixteen minutes of screen time. Such a lump of exposition could have been dull. But the accounts provided by Harlan’s daughter Linda, her husband Richard, Harlan’s son Walt, his daughter-in-law Joni, and Joni’s daughter Meg are brought to life by flashbacks to the day of Harlan’s death. Aided by voice-over, we get a sharp sense of each character’s personality while the mechanics of who-was-where-when during the birthday party are spelled out. Some flashbacks are replayed in order to alert us to disparities in the stories, which stir curiosity and set up further lines of inquiry. The technique isn’t utterly new, though; in the book I show that such shifts across viewpoints emerged in mystery films from the 1910s onward. The pace picks up when, instead of sticking to one-by-one witness accounts, Johnson starts to intercut them, showing varied responses to the same questions. The editing creates a conversation among the witnesses, as one disputes the testimony of another. This freedom of narration, mixing different accounts in a fluid montage, plays to modern viewers’ abilities to follow fast, time-shifting narratives. The use of voice-over to steer us through the flashbacks takes on new force when Elliott and Blanc question Marta. Her account of the fatal night is given not as testimony but as her memory. She recalls tending to Harlan after the party, starting a game of Go with him, and then discovering that apparently she gave him a lethal dose of morphine. She’s distraught, but he consoles her and instructs her in how to cover up her mistake. His scheme, which involves an elaborate disguise and a secret return to his bedroom, is designed to give Marta an alibi by showing her apparently leaving before he dies. In her memory Harlan’s voice-over narrates her flashback as she executes his plan. But she doesn’t confess to Elliott and Blanc. Following Harlan’s instructions, Marta lies to exonerate herself. Her propensity to vomit when she tells a lie drives her to the commode, but the police don’t notice. She has apparently fooled Blanc, who considers that her account “sounds about right.” In such ways Johnson retools scenes of the police interrogation for contemporary viewers. But he goes further in revising Golden Age tradition. Well aware of the tendency of the puzzle plot to indulge in plodding clue-tracing, he provides a deeper emotional appeal. Immigrants get the job done The Golden Age plot relies on an investigation, the scrutiny of the circumstances leading up to and following a mysterious crime, usually murder. Plotting came to be considered a purely logical game, a matter of appraising motives, checking timetables, pondering clues, testing alibis, and eventually arriving at the only possible solution. These conventions were canonized in books like Carolyn Wells’ Technique of the Mystery Story (1913) and in many writings by authors. But some writers recognized that the emphasis on a puzzle tended to eliminate emotion and promote a boring linearity in which the detective poked around a crime scene and questioned suspects one by one. Authors sought ways to humanize the investigation plot. Sayers filled it out with romance, social commentary, and regional color. Hardboiled novelists like Hammett and Chandler, who relied on many Golden Age conventions, turned the investigation into an urban adventure, with the threat of danger looming over the private detective. Others tried to blend in elements of the psychological suspense novel, as Nicholas Blake does in The Beast Must Die (1938), which traces how a bereaved father searches for the hit-and-run driver who killed his son. Rian Johnson tries something similar in Knives Out. Into the investigation of Blanc and the police, he inserts a woman-in-peril plot. Although we’re introduced to Marta early in the film, she’s pushed aside for about half an hour as the inquiry takes over in the interrogation sequences I’ve mentioned. Then Blanc takes a kindly interest in her and probes her knowledge of Harlan’s attitude toward his family. And then, after Lieutenant Elliott becomes convinced that it’s a suicide, Marta is questioned. At this point, she comes to the center of the film and becomes its sympathetic protagonist and central viewpoint character. Her memory episodes reveal that she believes she accidentally killed Harlan. But out of self-preservation and obedience to his orders, she doesn’t confess. She tries to ease away from Blanc, but he asks her to be his “Watson.” The rest of the plot forces her to accompany the investigation. Panicked that her scheme will be revealed, she often tries to suppress evidence: futzing up surveillance footage, traipsing over the muddy footprints she left, trying to throw away a piece of siding that she dislodged that night. Marta’s situation recalls that in The Woman in the Window (1944) and The Accused (1949), and in the TV series Columbo, in which guilty protagonists must watch as their trail is exposed. Marta’s only ally appears to be Ransom, Harlan’s ne’er-do-well grandson. He justifies his concern as partly selfish: If she gets away with it, she can share Harlan’s legacy with him. As in many domestic thrillers, this handsome helper is also a little sinister, but Marta accepts his advice for how to respond to an anonymous threat of blackmail. When Marta discovers that someone has nearly killed the housekeeper Fran, she vows to confess. By then, however, Blanc has solved the mystery and absolved her of guilt. Johnson deliberately made Marta a center of sympathy as a way of humanizing the investigation. Very early on in the game I wanted to relieve the audience of the burden of “Can we figure this out?”. . . . I don’t think that’s a very strong narrative engine to drive things. I think that’s very intellectual and that clue-gathering–after a while you recognize “No, I’m not gonna figure this out,” so you kind of sit back on your hands and wait for the detective to figure it out. . . . So the notion of tipping the hand early and giving this false but very convincing picture from Marta’s perspective of “I’ve done this and I’m in a lot of trouble.” . . . Could we do that so you’re genuinely on the side of the killer?. . . Once you’ve done that it’s very interesting because of the mechanics of the murder mystery, the fact that you know the detective always catches the killer. . . . The looming threat is that we know how mysteries work and we know that the detective catches [the killer] at the end. And we’re worried for Marta. We’re worried, “How is she possibly going to get out of this situation?” Johnson uses several other tactics to put us on Marta’s side. While the performances of the actors playing the Thrombeys leans toward grotesquerie, Ana de Armas plays Marta more naturalistically. In time-honored Hollywood fashion, Johnson also makes Marta ill-treated. She’s dominated by the family who pretends to love her, and as an immigrant she’s in danger of seeing her mother deported. When she is named Harlan’s heir, the family descends on her like predators. In the end, as in many psychological thrillers, the woman in peril turns into a resourceful combatant. She bluffs Ransom into confessing his scheme, and only when she vomits on him does he realize she’s fooled him with a lie. We can enjoy the innocent trapping the guilty. The game’s afoot. Which one? The Golden Age story is more than a puzzle. It’s posited as a game. Of course the murderer is at odds with the detective, with each trying to outwit the other. At another level, the game is a battle of wits between author and reader. John Dickson Carr sums it up. It is a hoodwinking contest, a duel between author and reader. “I dare you,” says the reader, “to produce a solution which I can’t anticipate.” “Right!” says the author, chuckling over the consciousness of some new and legitimate dirty trick concealed up his sleeve. And then they are at it—pull-devil, pull-murderer—with the reader alert for every dropped clue, every betraying speech, every contradiction that may mean guilt. Golden Age authors realized that the core mystery could be enhanced by techniques that both mislead the reader and drop hints about what’s really going on. The cultivated reader became alert not just for characters who might lie but for narration that was engineered to be misunderstood. Golden Age authors weaponized, we might say, every literary device to steer the reader away from the solution. The trick was to do this without cheating. If this genre is a game, then, following sturdy British tradition, “fair play” becomes the watchword. Earlier detective writers, notably Conan Doyle, did not feel obliged to share all relevant information with the reader. The master sleuth was likely to discover a clue or a piece of background knowledge that he or she kept quiet, the better to flourish it in triumph at the denouement. Instead, Golden Age authors made a show of telling everything. The concept of fair play was made explicit in Ellery Queen’s novels, which included a climactic “challenge to the reader” explaining that at this point all the information necessary to the solution was now available. (This device was replicated in the EQ TV series.) Even without this pause in the narration, Golden Age writers were careful to supply everything before the big reveal. Knives Out is very much in the game tradition. It knowingly follows self-conscious “meta”-mystery films like Sleuth, The Last of Sheila (1973), and Deathtrap (1982), all of which flamboyantly exploit classic conventions (often with crime writers at the center of the plot). Accordingly, Johnson is aware of the need to play fair. A straightforward example occurs in the interrogation sequence. Members of the Thrombey family tell Blanc and the police that Harlan’s last day with the family was a happy occasion. But the flashbacks reveal to us that they’re lying. We see Harlan fire Walt as his publisher, confront Richard with his infidelity, and cut off Joni’s funding for Meg’s tuition. Soon enough Blanc will intuit their deceptions and ask Marta for confirmation, but the flashbacks make sure we grasp their possible motives for killing Harlan. But telling everything required telling some of it in deceptive ways. Otherwise, there’d be no puzzle. The craft of Golden Age fiction demanded skillfully planting crucial information that can be (a) recalled at propitious moments by the detective but (b) neglected by the reader (“I should have noticed that!”). Perplexing Plots traces various stratagems for achieving how authors muffled crucial information through ellipsis, distraction, and other tactics. Consider Fran’s dying message. As Marta bends over her, Fran gasps, “You did this.” Since we’ve been led to believe that Fran is blackmailing Marta, it seems to confirm that she’s got proof of Marta’s guilt in the toxicology report. But the dying message turns out to be equivocal. Fran is actually saying, “Hugh did this”–identifying her would-be killer. Huh? Early in the film when Ransom comes to the mansion, the police greet him as “Hugh Drysdale,” to which he replies, “Call me Ransom. Ransom is my middle name. Only the help calls me Hugh.” Fair play, but given to us in a distracting way. The line is played down: Ransom delivers it quickly as he’s turned from the camera and strides into the house, and the policemen’s reactions are more prominent in the shot. To play fair, Johnson reiterates the name just before the revelation, when Blanc addresses him as “Mr. Hugh Ransom Drysdale.” Since in Fran’s scene we can’t tell the difference between “You” and “Hugh,” file this under Carr’s category of “legitimate dirty trick.” As a result, anything can become a clue for interpretation/misinterpretation. But for Golden Age creators, authorial craft isn’t only a matter of producing clues. Clues are available to the investigators and are crucial to the solution. But at the same time the author can supply hints in the narration, addressed to us behind the backs of the characters. An instance in Knives Out is the title of one of Harlan’s books, glimpsed in a montage of his bookshelves. In a film reliant on syringes, The Needle Game would seem to be a tip-off. Or a hint can become a clue eventually. After Marta’s wild night covering up her “crime,” she rushes home and takes refuge in front of the TV. As she nervously taps her foot, a close-up reveals a single bloodstain on her sneaker. She’s unaware of it, but the stain opens the possibility that it could incriminate her later. The film lets us forget it until the very end, when Blanc says he knew she was involved in Harlan’s death from the start, when he spotted the bloodstain. The hint for us became a clue for him. Golden Age plotting invites attention to minutiae of presentation. Although Agatha Christie is sometimes condemned as a clumsy writer, Perplexing Plots tries to show that she often mobilizes a flat style to mislead us. Similarly, the attentive viewer will notice little felicities in Knives Out. For instance, when we first see Marta return to the mansion through the forest path, a shot shows her leaving the tracks she’ll later try to smear over. But in Blanc’s reconstruction, we see Ransom returning to the mansion by balancing on the wall lining the path, so as to leave no traces in the mud. Had Ransom walked on the path, Johnson would have been besieged by Twitter complaints. All this is a matter of self-conscious artifice. As Johnson notes, few readers take seriously the task of solving the mystery themselves. One member of the Ellery Queen collaboration admitted: “We are fair to the reader only if he is a genius.” The fair-play convention is at once a pretext for the display of authorial ingenuity and a source of artistic power–proof that a plot can harbor a hidden intricacy unsuspected by the reader. One dimension of connoisseurship in the classic mystery is the reader’s admiration of artifice, a taste for elaborate construction. If it’s all in the game, then we’re no longer committed to mundane realism. A portrait can whimsically change from scene to scene. Henry James argued for a through-composed form of the novel, where every detail was carefully judged for its effect and its balance with others. An unexpected legacy of Jamesian formalism, I think, was the Golden Age authors’ ambition to make each story a tour de force, a test of readers’ skills and a revelation of unexpected resources in storytelling technique. Mystery stories are ingenious, as Ben Hecht noted, because they have to be. The film’s rapid pace, time-shifting, and looping replays exemplify current tastes for what’s been called Complex Storytelling. But one task of my book is to suggest that popular storytelling has been complex for quite a while. The techniques have become refined and revised, and their appeal has been sharpened by emerging audiences (e.g., in the 1990s) and new technologies (e.g., video that allows replays). We were sensitized to these techniques by mystery fiction throughout the century. The play with incompatible viewpoints, reruns of action bearing new significance, the strategic use of ellipsis–all are there in the Golden Age tradition. Likewise, the notion of fair play persists in all those “twist” films that flash back to show us actions that take on a new significance. Golden Age strategies, and mystery plotting more generally, have prepared audiences to expect pleasurable but “fair” deception in all genres. Knives Out, among other accomplishments, helps us understand how today’s sidewinding stories have roots in a genre that’s too often dismissed as mere diversion. The quotations from Rian Johnson come from the Blu-ray supplement to Knives Out, “Planning the Perfect Murder,” between 2:21 and 4:20. The supplementary material on the disc is exceptionally detailed and reveals Johnson’s keen knowledge of the history of mystery fiction and film. Exceptional studies of Golden Age mysteries are LeRoy Lad Panek’s Watteau’s Shepherds: The Detective Novel in Britain (1979) and Martin Edwards’ Golden Age of Murder (2016), The Story of Classic Crime in 100 Books (2017), and The Life of Crime: Detecting the History of Mysteries and Their Creators (2022). See also Mike Grost’s encyclopedic site A Guide to Classic Mystery and Detection. For another good example of Golden Age misdirection appropriated in cinema, see this entry on Mildred Pierce. Perplexing Plots is available for pre-order here and here. This is a good place to thank Sarah Weinman and Yuri Tsivian for their favorable comments on the book, which are available on these sites. P.S. 9 August: I now realize I neglected to mention that Joni’s daughter Meg isn’t as harshly characterized as the rest of the Thrombey clan. She’s a friend to Marta and Fran and seems genuinely to care about Marta’s fate. However, she’s still a pothead who walks out of her benefactor’s birthday party and who colludes with the family to call Marta to get information. In plot terms, she’s one more threat to Marta. Although we didn’t discuss this point, I thank John Toner of Renew Theaters for amiable correspondence about Knives Out. Knives Out (2019). DB here: In the Before Times, I didn’t watch much fictional TV. Our modest monitor was chiefly a delivery device for news, DVDs, and Turner Classic Movies. We followed The Simpsons, and I came to like Deadwood and Justified, but usually the time commitment demanded by long-form series put me off. I gave my curmudgeonly reasons long ago on a blog entry. But over the last nine months, forced to stay home, I dipped my toe in the water. Streaming made it easy to catch up with shows I’d never seen and offered a plethora, or rather a glut, of original series. This still-limited experience of long-form shows confirms the presence, if not the dominance, of what Jason Mittell in his excellent book calls Complex TV. Many shows mix timelines with abandon. Both the documentary WeWork; or, The Making and Breaking of a $47 Billion Unicorn (2021) and the docudrama WeCrashed (2022) open near the end of the story action and then flash back to show what led up to it. (This crisis structure became especially common in 1940s Hollywood.) Billions, an older series I’d never followed, contains an episode (Season 2, 2016) that jumps to and fro among a funeral, scenes taking place before it, and scenes afterward, several attached to different characters. In the Hulu series Dopesick (2021) a sliding timeline graphic shifts among many periods and character viewpoints; to keep track of it all you’d need to make a spreadsheet. (It would amount to something like the whiteboard used in writers’ conference rooms to map out the unfolding series.) I can’t recall all the shows that friends have recommended as examples of daring play with narrative. Of course all this isn’t news. For years both indie films and Hollywood blockbusters have offered complicated segmentations, broken timelines, and splintered viewpoints, with contradictory replays and unreliable narration. Still, it was good to be reminded that the problem I’m tackling in my latest book is still current—indeed, dominant. We may have to wait for the new Justified series to see a return to straightforward linear storytelling. When and how did viewers develop the skills that lets them appreciate the New Narrative Complexity? This is at the center of Perplexing Plots: Popular Narrative and the Poetics of Murder. Maybe we were always smart Intolerance (1916). There’s a view, most eloquently posed by Steven Johnson in Everything Bad Is Good for You, that these comprehension skills are a fairly recent development. They stem from rising IQ levels, growing facility with video games, and other cultural phenomena after the 1970s. People are now smarter consumers of narrative than they were in the days of I Love Lucy. I argue instead that popular narrative has been cultivating these skills across a much longer period, and they firmly took hold in mass culture at the start of the twentieth century. You can get a summary of my argument here on the Columbia University Press site. Most broadly, a lot of (now-forgotten) mainstream plays and novels were as experimental in shifting point-of-view and juggling time frames as any we find today. For example, we celebrate backwards stories as typical of the demands of modern storytelling. The play and film Betrayal and the films Memento and Shimmer Lake are among many recent media products presenting the scenes in 3-2-1 order. But this possibility was discussed by a prominent critic in 1914, and soon a major woman actor wrote a play that used reverse chronology. There followed other examples, not least W. R. Burnett’s novel Goodbye to the Past (1934) and the Kaufman and Hart play Merrily We Roll Along (1934). Some will argue that innovations of popular narrative are dumbed-down borrowings from modernist or avant-garde trends. I try to show this process as a two-way dynamic: modernism borrowing from popular forms, mainstream storytellers making modernist techniques more accessible. But we also find that popular storytelling has its own intrinsic sources of innovation, as with the reverse-chronology tale and Griffith’s application of crosscutting to different time frames in Intolerance (1916). So it seems to me that audiences have long been capable of tracking the sort of fancy narrative devices we find now. They encountered them in many types of stories, and I devote the first part of Perplexing Plots to a quick survey of developments in novels and plays. (Yes, Stephen Sondheim is involved.) Audiences have learned to enjoy self-conscious artistry, an awareness of form and technique–what one disapproving reviewer of Wilkie Collins called “the taste of the construction.” Such a taste was cultivated in depth in one mega-genre. That was a major training ground for giving us the skills to follow complex, sometimes deceptive storytelling. Mystery on my mind Pulp Fiction (1994). Ever since my teenage years I’ve been a fan of mysteries on the page and on the screen. I’ve smuggled discussions of detective stories and crime thrillers into many of my books, and my last one, on 1940s Hollywood, did a lot with this form of storytelling–largely because it was so central to the films of that era. Perplexing Plots in a way turns Reinventing Hollywood inside out. The earlier book put movies at the center while showing how filmmakers borrowed from mysteries in other media. The new one puts fiction, theatre, radio, and even comic books at the center, discussing how mystery conventions developed–and showed up in films as well. The two books complement each other, I guess, although the historical sweep of the new one runs from the 1910s to the present. Mystery was essential to many classic novels, from Wuthering Heights to the tales of Henry James and Joseph Conrad. Dickens and Wilkie Collins made mystery a major attraction of “sensation fiction.” In the twentieth century, the Anglo-American whodunit, the suspense thriller, and the hardboiled detective tale–to take the three most well-known genres–trained audiences in appreciation of nonlinear plotting, misleading narration, and subterfuges of concealment. A Western or a science-fiction tale may include a mystery, but it doesn’t have to. In mystery fiction, the suppression and misinterpretation of information is foundational to the genre itself. A mystery depends on a “hidden story,” which will often be revealed out of chronological order and refracted through the minds of several characters. At a meta-level, the genre cultivates a gamelike approach, where we expect the author to give with one hand and take away with the other. Across history, a mass audience became sophisticated consumers of complex narratives. I trace how this happened with Agatha Christie, John Dickson Carr, Marie Belloc Lowndes, E. C. Bentley, Dashiell Hammett, Raymond Chandler, Daphne du Maurier, Cornell Woolrich, and many other authors. I spend a lot of time analyzing both plot structure and the texture of the writing. If nothing else, I hope to show that this genre encourages not only great ingenuity in plotting but also subterfuges of style. I trace this process into the 1940s, when in my view the basics of contemporary techniques crystallized and become widespread. The book then looks at some case studies of how crime novels and films have explored the various possibilities of broken timelines, disparate viewpoints, and misleading narration. I devote chapters to Erle Stanley Gardner, Rex Stout, Patricia Highsmith, Ed McBain, Donald Westlake, Quentin Tarantino, and Gillian Flynn. I could have gone much farther. Every reader will have a long list of authors I’ve omitted. But I had to stop somewhere! And I decided to concentrate on some of my favorites. The result is, if nothing else, appreciations of the verbal artistry of some underestimated storytellers. This isn’t to say that audiences of 1920 could have easily followed Inception (2010) or Everything Everywhere All At Once (2022). Storytellers have pushed forward, revising schemas that are widely known and teaching us to recognize the tweaks they’ve introduced. Audiences have accumulated a repertory of skills, built upon their experiences of other formal experiments. Those experiences, I want to show, have been crucially shaped by the conventions of mystery narratives. Looking back on other things I’ve written, I find that I’m repeatedly concerned with finding beauty in popular genres and modes of storytelling. My studies of Hollywood, Hong Kong cinema, Japanese films, and other forms of cinema have taught me that mass entertainment harbors not only pleasures but also precise craft and daring artistry. While I’ll never give up my love of disruptive and “difficult” work, I find that films appealing to wide audiences, from His Girl Friday and Meet Me in St. Louis to the masterworks of Ozu and Hitchcock and Lang, have a unique power. Fortunately, we don’t have to choose.We can have them all. Perplexing Plots is my effort to show that storytelling craft in its humblest forms can yield its own rapture. Advance appraisals of the book can be found here. (Click on “Reviews.”) It’s due to be published in January 2023. In the months ahead, from time to time I hope to blog more about the ideas in the book. In the meantime, I wait for the new installment of Slow Horses. There are too many people to thank here; my debts are recorded in the book’s Acknowledgments. But at least I want to thank John Belton for supporting the project, and Philip Leventhal and Monique Briones at Columbia University Press for their swift and efficient work on the manuscript. And love to Kristin, who took care of me while I finished the book and recuperated from surgery. The Lady Vanishes (1938). Kimi (2022). DB here: Just when I worried that the solitary-woman-in-peril cycle had ended, along comes Steven Soderbergh’s Kimi on HBO Plus. Following on the fine No Sudden Move from last year, his latest effort shows how an imaginative script (from Friend of the Blog David Koepp), elegant direction, an unpredictable score, and an engagingly eccentric central performance (from Zoë Kravitz) can revivify some classic conventions. Some critics think that when parodies show up, the genre is on the downturn. The streaming release of The Woman in the House Across the Street from the Girl in the Window (2022) might suggest that the cycle based on The Girl on the Train (2016) and The Woman in the Window (2021) had run its course. But actually, parodies can show up at any point in the life cycle of a genre. The Great K & A Train Robbery (1925) didn’t kill off the western, and Spaceballs (1987) didn’t wipe out space opera. So it’s good to know that the presence of Woman in the House Across the Street etc. doesn’t make a straightforward but sophisticated entry like Kimi any the less sparkling. It depends on what I’ve called the Eyewitness Plot, and I’ve tried in Revisiting Hollywood to show how that emerged from the flurry of creative activity we find in 1940s studio cinema. Here the protagonist sees what may be a crime and asks the authorities to intervene. There’s enough uncertainty about the incident itself, and about the reliability of the witness, to make the police doubt that there’s been a crime. So the protagonist has to investigate–while becoming a target of violence in turn. Rear Window (1954) is the standard example, but it has many predecessors in fiction, film, and radio, notably The Window (1949). A variant relies not on sight but sound: the protagonist hears something of criminal consequence. That alternative is played out in Sorry, Wrong Number (1948) and, later, The Conversation (1974) and Blow-Out (1981). Koepp and Soderbergh, both connoisseurs of classic Hollywood, understand the power of locking us into the perceptions of the witness while at the same time keeping us aware of the larger context of the action. Rear Window is exceptionally strict in limiting us to what Jeff sees and hears, but even then there is a telltale moment when we’re given information that would seem to contradict his belief that his neighbor has murdered his wife. More common is a balanced narrration that ties us to what the protagonist knows but occasionally strays away to supply backstory and ancillary information–usually, just enough to foster suspense. That’s enough setup. Major spoilers follow! If you haven’t seen Kimi yet, visit and return. She looks and listens Angela Childs lives in lockdown. Not just the pandemic but a traumatic sexual assault has made her afraid to leave her Seattle loft, and more basically resistant to emotional contact. She works from home for Amygdala, a company promoting an Alexa/Siri gadget called Kimi. Unlike the competitors, which rely on machine learning, Amygdala has an army of monitors that track actual user dialogues with Kimi in order to correct its errors. Angela is a monitor, and on one recording she hears, muffled by music and noise, what seems to be a murder. After cleaning up a dense recording and inducing a more experienced hacker to find the user’s entire log of Kimi conversations, Angela discovers a crucial one that seems to lead up to the crime. Here the official reluctance to believe the witness takes the form of an Amygdala executive’s demand to listen to the recording. When Angela insists that the FBI be present for the playback, the corporation takes steps to silence her. The second large section of the film consists of a prolonged chase and, back in her loft, a final confrontation with the men who committed the crime. The film’s opening establishes, as a sort of intrinsic norm, the alternation between the wider view of the crime’s circumstances and Angela’s limited perspective. The first scene sets up Bradley Hasling awaiting Amygdala’s IPO, but worried because he’s paying off someone for suppressing information about an unnamed woman. With our curiosity aroused, the plot can afford to introduce us to Angela and her routines in a more leisurely way. Without the Hasling scene, this stretch would be mostly character portrayal, but it gains keener interest as we must wonder how Angela’s fate will intersect with his. Glimpses of Angela fussily making her bed, brushing her teeth, and exercising on her bike also serve to illustrate how she activates Kimi for music and for computer access. Just as important are the passages of optical POV that show her at her window scanning her street. She looks across at a family in the building opposite, and then looks up and to her left, where she sees the bearded man we’ll learn is called Kevin. He looks back at her. She swivels her gaze to another window opposite and sees a closed curtain. Later on the balcony she looks at the window and this time sees Terry, her casual lover, getting ready for work. She texts him, and after an external, objective pan shot links the two buildings, she asks Terry if he wants to join her for a breakfast at the food truck down below. However, she’s afraid to leave the apartment, and her fractured activity is rendered in discordant POV angles. After a shot of her in the shower, we see Terry at the truck, from her usual station point. There’s no lead-in shot of her looking; is she watching from offscreen after the shower, or has the narration worked behind her back, while reminding us of her usual position? Finally, when she collapses on the floor, unable to leave, we get the same high angle on Terry at the truck, texting her and looking up. Cut back to her still on the floor. The narration is now operating independent of her vision, but with traces of her viewpoint lingering. The passage is capped by a shot of her at the window looking down, followed by an optical POV of the food truck, sans Terry. Another shot of her seals the sequence, but when she pulls away from the window, we get an extra, new angle on her: from outside and above. It’s a fair approximation of what Kevin’s viewpoint on her might be. Yet there’s no shot showing him watching. The “unclaimed” POV shots that close this scene acknowledge that however much we’re tied to the protagonist’s perceptions, the narration won’t limit us to them–that there is wiggle room to supply extra information, and to imply that our heroine is watched by others. This fluctuating access will become important in the crosscutting that provides the film’s climax. She flees and fights The fusion of external viewpoints and subjective ones continues in different ways later. When Angela plays the recordings of the attack, Soderbergh gives us her mental imagery–first as blurred cutaways, then as superimpositions. She’s imagining the assault. Later we’ll learn she has been a rape victim herself. We’ll later discover that the faces of the murderers are those of the thugs who will pursue her. Yet she hasn’t seen them yet, so she can’t plausibly be visualizing them in the scene. This is an innovation, I think. In the Forties and since, if these visualized images were to accompany the playback, the faces of the killers would have been indiscernible. Soderbergh is willing to violate plausibility in order to gain economy (introducing us to the thugs) and to continue his initial strategy of rendering subjective experience while also adding information for us. A milder version of the tactic will be used in the climax, after Angela is captured and lying semi-unconscious in the van. We see her awake and apparently listening to the thugs’ dialogue, while superimpositions suggest the passage of the van through the neighborhood. Incidentally, these are good examples of the persistence of “Impressionist” cinema techniques from the silent era. Soderbergh had made use of them in Unsane (2018), another film about a woman in peril. Apart from the prologue showing Hasling’s phone call, the film’s first stretch is confined to Angela’s loft. It’s a classic “bottle” situation, a premise that Koepp is fond of. (Cf. his script for Panic Room, 2002.) It’s Angela’s sympathy for the victim of the crime that propels her out of her bubble into the wider world. Here Zoë Kravitz’s performance takes on a new dimension. In her loft she’s clipped and brusque, dominating everyone she talks to. Her vulnerability, though, is suggested by her obsessive hand sanitizing. Emphasized by her waving her hands to dry them, it becomes practically a nervous tic. Once outside, she scoots along, arms jammed to her side, head buried in her hoodie, and body as stiff as Max Schreck’s. She tries to be as locked-in outdoors as she is indoors. Soderberg compensates for her rigidity with camera technique that’s liberated from the confines of her loft. As Manohla Dargis points out in her review, now the film becomes a procession of canted angles and hurtling camera moves, swooping around her and trying to keep up. Once back in the loft, however, the framing gets poised again and we’re subjected to a precise exercise in suspense. Close-ups and abrupt changes of angle provide exactly what we need to see at each instant. And things planted quietly in the opening, particularly Angela’s knowledge of building construction, become crucial to her survival. Kimi proves to be a lifesaving sidekick, proving Hitchcock’s dictum concerning Jeff’s use of flashbulbs to save himself in Rear Window: you should use everything you’ve put into your scene. One nice felicity: You might expect that Terry would turn out to be the “helper male” of so many women-in-peril plots (e.g., the Joseph Cotten character in Gaslight, 1944). Prototypically, this character rescues the protagonist and provides romantic interest for the future. Koepp’s screenplay shrewdly sets Terry up for this role when Angela looks outside during the gang’s siege and sees Terry’s apartment empty. Later Terry is shown in a street-level, objective shot, walking to Angela’s building. This violation of the intrinsic POV norm suggests an impending rescue. But that prospect is canceled when he stops as if remembering something and turns back. He does arrive, but too late to help. Terry’s expression as Angela calls 911 is a perfect capstone for the scene. The same wit flashes out of the epilogue, which suggests she’s broken out of her shell, but she still prudently uses sanitizer. The domestic suspense thriller focused on a female protagonist remains a popular genre of novels. I devoted a chapter to it in my forthcoming book Perplexing Plots: Popular Storytelling and the Poetics of Murder. There haven’t been many film adaptations of them since The Woman in the Window, but maybe the neo-Gothic The Girl Before (2021) will unleash more. In the meantime, I’m glad that Koepp and Soderbergh have found ways to give the conventions brisk new life. David Koepp remarks: “You’re right about the lingering effect of 40s cinema, as you and I have discussed many times. I’d say Sorry, Wrong Number was the direct antecedent here. . . I mean, the party line in Sorry, Wrong Number is basically the Alexa of its time, no?” Interesting in this connection is that the lengthy survey of Angela’s loft in the epilogue shows Kimi no longer there. Another grace note: KT wondered if the precariously balanced kombucha bottle is psychologically revealing. It turns out to be the consummation of a moment from an earlier Koepp film. The bottle on the edge of the counter — that was me making good on a setup I did in Secret Window, fifteen years ago. Seriously. There’s a shot in there where Johnny’s character, in a state of high anxiety and agitation, sets a glass down on his kitchen counter hastily, and doesn’t notice it’s only half on the counter. We did seventeen or twenty takes to get exactly the right gravity-defying balance on the edge. It was a pretty literal visual metaphor — you know, he’s on edge. Thing was, in post-production I realized I had put in a perfect setup, but never paid it off. Why not have the glass fall and smash twenty minutes later, when we’re least expecting it?? Wished I had, never did. So I used it again in Kimi, but with the (to my mind) required payoff, and at a moment of high tension. So, Angela, in her argument with Terry, is highly agitated, and smacks the bottle down on the counter carelessly, not realizing how close it is to the edge. (The KT hypothesis proves correct!) Angela forgets about it. So do we. Ten minutes later, when we’re all keyed up about something else, SMASH! Thanks to David for corresponding. The Hitchcock remark is this: “Here we have a photographer who uses his camera equipment to pry into the back yard, and when he defends himself he also uses his professional equipment, the flashbulbs. I make it a rule to exploit elements that are connected with a character or location. I would feel that I’d been remiss if I hadn’t made maximum use of those elements” (Truffaut/Hitchcock, rev. ed. 1983, 219). Kimi (2022).
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"https://www.harpersbazaar.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523ffffff&id=social-button-icon", "https://www.harpersbazaar.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.harpersbazaar.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523ffffff&id=social-button-icon", "https://www.harpersbazaar.com/_assets/design-tokens/harpersbazaar/static/images/logos/network-logo.6416a85.svg?primary=%2523ffffff" ]	[]	[]	[ "classic horror movies", "best horror movies", "horror films", "scary movies", "classic scary movies", "classic horror films", "old horror movies", "old horror films", "black and white horror movies" ]	null	[ "DeAnna Janes" ]	2017-08-04T19:03:08-04:00	Before Jigsaw and Pennywise, there was Dracula and the Wolf Man. The horror genre dates back to a time before talkies, when directors relied on set design, story, and really efficient fog machines to get the goosebumps rising. Herewith, nothing after 1985, and everything you want in a scary movie.	en	/_assets/design-tokens/harpersbazaar/static/images/favicon.9d827eb.ico	Harper's BAZAAR	https://www.harpersbazaar.com/culture/film-tv/g10339804/best-classic-horror-movies/	Before Jigsaw, Pennywise, and Ghostface, there was Dracula, Frankenstein, and the Wolf Man. Yeah, horror movies and their monsters were more about creaky doors, freaky costumes, and spooky atmospheres than green-screen frights, puzzling torture porn, and high-octane mayhem. So ahead, we're breaking down the horror movies that stand out in the crypt of classics; those that required their filmmakers to act as mad scientists to craft eerie and visceral tales with nothing but great storytelling and a formidable fog machine. Heads up: Our film capsule includes those gems made before 1985, meaning the best classic horror movies that don't include all the digital fancies filmmakers have at the ready today. After you’re done scrolling, head over to our scariest movies of all time, best horror movies on Prime Video, and funny horror movies for more spooky fun. Playwright Bill Gunn’s Ganja & Hess, an experimental vampire tale that wowed critics at the Cannes Film Festival in 1973, has a story to tell—and not just its cinematic narrative about an anthropologist named Hess who gets stabbed with a cursed dagger then finds himself immortal and in love with his assistant’s wife, Ganja. Behind the scenes, the film was heavily edited, chopped for time, and released as a Franken-picture the director wouldn’t even put his name on. Luckily, the Museum of Modern Art has restored Gunn’s initial vision, and you can view it in its original glory today. Watch Now
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"https://people.com/thmb/7iEh9DHL210cqXBUcTsmhbtQU3U=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/katy-perry-tout-081524-2befd87989684a4abeae2193ec541ee8.jpg", "https://people.com/thmb/7iEh9DHL210cqXBUcTsmhbtQU3U=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/katy-perry-tout-081524-2befd87989684a4abeae2193ec541ee8.jpg", "https://people.com/thmb/4plSiM1i-tBZi2OHcztardE4qx0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Bono-Edge-Bruce-Springsteen-Steven-Speilberg-080324-2eed8f6b14404b1790df62d49d7df382.jpg", "https://people.com/thmb/4plSiM1i-tBZi2OHcztardE4qx0=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/Bono-Edge-Bruce-Springsteen-Steven-Speilberg-080324-2eed8f6b14404b1790df62d49d7df382.jpg" ]	[]	[]	[ "" ]	null	[ "Stephanie Sengwe", "www.facebook.com" ]	2023-03-12T11:00:00-04:00	From Warren Beatty to Steven Spielberg to Jane Campion, here's every filmmaker who's won the Best Director Oscar at the Academy AWards through the years	en	/favicon.ico	Peoplemag	https://people.com/movies/academy-awards-best-director-winner-through-the-years/	From lighting to set choice to casting, artful and meticulous directors are the reason we have epic films such as The Godfather, Titanic and It Happened One Night that stand the test of time. Best Director at the Academy Awards is a field that has celebrated some of the most iconic people in film, including the Coen brothers, Ang Lee and Steven Spielberg. But it is not without controversy: over 95 Oscars ceremonies, only eight women have been nominated, and just three have won, the first in 2009. Here, a rundown of every Best Director Oscar winner since the inception of the Academy Awards in 1929. 2024: Christopher Nolan, Oppenheimer Oppenheimer won big at the 2024 Oscars, including in the Best Director category, where Christopher Nolan picked up his first award. 2023: Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once Everything Everywhere All at Once and its directors Kwan and Scheinert took home seven awards during the 2023 ceremony, the most of any film that year. 2022: Jane Campion, Power of the Dog Becoming the third woman in Academy Awards history to win Best Director, Jane Campion snagged the Oscar for her modern-day Western at the 2022 ceremony. Campion also made history when she was nominated, as she became the first woman to be nominated twice for Best Director — her first nod was in 1993 for The Piano. Though she didn't win then, she did take home the Oscar for Best Original Screenplay for that film. 2021: Chloé Zhao, Nomadland In another history-making win, not only was Zhao the second woman to ever win in the category, but she was the first Asian woman to take an Oscar for directing. 2020: Bong Joon Ho, Parasite "Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films," said South Korean filmmaker Bong Joon Ho when he accepted the Golden Globe for best motion picture, foreign language in 2020. At the Oscars that same year, he gave another touching speech, thanking and acknowledging his fellow nominees — Martin Scorsese, Quentin Tarantino, Sam Mendes and Todd Phillips — for their inspiration. 2019: Alfonso Cuarón, Roma This touching film, inspired by Cuarón's own upbringing, was a black-and-white picture that highlighted the class differences in Mexican culture. 2018: Guillermo Del Toro, The Shape of Water Going into the 90th Academy Awards in 2018, Del Toro's The Shape of Water had a staggering 13 nominations and snagged four trophies, for Best Picture, Best Director, Best Original Score and Best Production Design. 2017: Damien Chazelle, La La Land Any man who can get Ryan Gosling to break out in those dance moves certainly deserves to be awarded! Chazelle's La La Land was a big hit when it came out, and at the Academy Awards in 2017, it also won Best Cinematography, Best Original Song and Best Production Design in addition to Best Actress for Emma Stone. 2016: Alejandro González Iñárritu, The Revenant Iñarritu took home the prestigious award for the second year in a row. Not only was this the film that got Leonardo DiCaprio his long-awaited Oscar, but The Revenant, which was based on the true story of explorer Hugh Glass, also won the award for Best Cinematography. 2015: Alejandro González Iñárritu, Birdman or (The Unexpected Virtue of Ignorance) Starring powerhouses such as Michael Keaton, Edward Norton, Emma Stone and Zach Galifianakis, it's no wonder Birdman was a hit. The film also won trophies for Best Cinematography, Best Picture and Best Original Screenplay. 2014: Alfonso Cuarón, Gravity This far-out film followed Dr. Ryan Stone (Sandra Bullock), a medical engineer on her first shuttle mission, and soon-to-be-retired veteran astronaut Matt Kowalsky (George Clooney) as they became stranded in deep space after a disaster. The movie received 10 nominations at the 2014 show — the most that year, tied with American Hustle — and scored seven trophies. 2013: Ang Lee, The Life of Pi Though CGI versions of the tiger in The Life of Pi were used in certain scenes, according to MTV, filmmakers also worked with four real tigers for reference. This allowed the CGI team to mimic a Bengal tiger's real mannerisms without putting a young Suraj Sharma, who played Pi Patel, in danger. "We didn't want our actor to get eaten," visual effects supervisor Bill Westenhofer told the New York Times. "It set our bar high for CGI. We couldn't cheat at all. It pushed the artists to go and deliver something that's never been done before, something as photo-real as anyone has ever done with an animal." For their efforts, the team also walked away with the Academy Award for Best Achievement in Visual Effects, Best Cinematography and Best Original Score, in addition to Best Director. 2012: Michel Hazanavicius, The Artist Sure, Hazanavicius, Bérénice Bejo, Jean Dujardin and John Goodman delivered some incredible work, but the real star of this film was Uggie, the adorable Jack Russell Terrier who was their four-legged collaborator. In addition to Best Director, The Artist also won Best Picture, Best Actor, Best Costume Design and Best Original Score. Never miss a story — sign up forPEOPLE's free daily newsletter to stay up to date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories. 2011: Tom Hooper, The King's Speech Another film that had critics and audiences buzzing, The King's Speech had a staggering 12 nominations in 2011, and took two additional trophies on top of Hooper's win for Best Director: Colin Firth was named Best Actor and David Seidler won for Best Original Screenplay. 2010: Kathryn Bigelow, The Hurt Locker Kathryn Bigelow made Academy Awards history when she became the first woman to win Best Director with her gripping thriller in 2010. The Hurt Locker was nominated for nine awards at the 82nd Academy Awards and walked away with six trophies. 2009: Danny Boyle, Slumdog Millionaire Launching the careers of Dev Patel and Freida Pinto into the stratosphere, Slumdog Millionaire was critically acclaimed from the moment it debuted at the Telluride Film Festival in 2008. Going into the 2009 Oscars, the romantic drama had 10 nominations under its belt and won big, sweeping the night with eight trophies, including Boyle's Best Director award. 2008: Joel and Ethan Coen, No Country for Old Men Starring Javier Bardem, Josh Brolin, Tommy Lee Jones and Woody Harrelson, the film also won the Coen brothers Best Picture and snagged Best Original Screenplay and Best Film Editing, plus a Best Actor win for Bardem. 2007: Martin Scorsese, The Departed Though he has undeniably made a major impact on the film industry, to date Scorsese has won just one Oscar, in 2007 for this crime thriller starring Leonardo DiCaprio, Matt Damon, Vera Farmiga, Jack Nicholson and Mark Wahlberg. 2006: Ang Lee, Brokeback Mountain Brokeback Mountain brought rousing performances from both Heath Ledger and Jake Gyllenhaal. In addition to Best Director, the movie also won Best Adapted Screenplay and Best Original Score. 2005: Clint Eastwood, Million Dollar Baby Clint Eastwood's Million Dollar Baby won Best Picture, while Hilary Swank took home the Best Actress in a Leading Role trophy and Morgan Freeman won Best Actor in a Supporting Role. 2004: Peter Jackson, The Lord of the Rings: The Return of the King As if The Lord of the Rings franchise wasn't already epic back in the early '00s, its competitive presence at big awards shows also made it one to watch. The Return of the King — the last film of The Lord of the Rings trilogy — had a clean sweep during the 76th Academy Awards in 2004, going in with 11 nominations and winning all. 2003: Roman Polanski, The Pianist A gripping tale about a Polish Jewish radio pianist who has to find a way to survive during World War II, The Pianist also snagged the Best Actor in a Leading Role (Adrien Brody) and Best Adapted Screenplay Oscars. 2002: Ron Howard, A Beautiful Mind Ron Howard won the Best Director award for this drama at the 2002 ceremony. Additionally, Jennifer Connelly took home the trophy for Best Supporting Actress, while Howard and colleague Brian Grazer won Best Picture and Akiva Goldsman won Best Screenplay Based on Material Previously Produced or Published. 2001: Steven Soderbergh, Traffic Chronicling how the war on drugs affected different people, this crime drama was a big hit at the 2001 Academy Awards. Not only did Soderbergh walk away with the Best Director Oscar, but Benicio del Toro also won Best Supporting Actor and the film won Best Screenplay Based on Material Previously Produced or Published. 2000: Sam Mendes, American Beauty With a budget of $15 million, American Beauty made more than $350 million at the box office. At the 72nd Academy Awards in 2000, the classic snagged five trophies: Best Picture, Best Director, Best Actor in a Leading Role, Best Screenplay Written Directly for the Screen and Best Cinematography. 1999: Steven Spielberg, Saving Private Ryan Earning Steven Spielberg his second Best Director Academy Award was this war drama that starred Tom Hanks, Matt Damon, Tom Sizemore, Vin Diesel and Barry Pepper. The film also won Best Sound Effects Editing, Best Cinematography, Best Sound and Best Film Editing. 1998: James Cameron, Titanic Twenty-six years after the film's premiere in 1997, the topic of whether or not Jack could've fit on that raft with Rose is still a hot-button issue. That's just how impactful Titanic is. Going into the Academy Awards in 1998, the romantic drama was on track to become one of the highest-grossing films of all time. Titanic won 11 out of the 14 awards it was nominated for including Best Picture, Best Original Dramatic Score and Best Original Song for Céline Dion's "My Heart Will Go On." 1997: Anthony Minghella, The English Patient Starring Ralph Fiennes, Juliette Binoche, Willem Dafoe, Colin Firth and Kristin Scott Thomas, the film was nominated for 12 Oscars and walked away with nine including Best Supporting Actress for Binoche, Best Picture and Best Original Dramatic Score. 1996: Mel Gibson, Braveheart Loosely based on the life of the 13th-century Scottish leader William Wallace, Braveheart was nominated for 10 awards at the 1996 Academy Awards and took home five. 1995: Robert Zemeckis, Forrest Gump Life was sweeter than a box of chocolates when Forrest Gump nabbed the Best Director Oscar for Zemeckis and earned Tom Hanks his second Best Actor in a Leading Role award. In 2011, Forrest Gump joined Silence of the Lambs, Bambi, Stand and Deliver and 22 other films to be "preserved as cultural, artistic and historical treasures" in the National Film Registry of the Library of Congress. 1994: Steven Spielberg, Schindler's List Based on the novel Schindler's Ark, this heartbreaking drama chronicles the life of German businessman Oskar Schindler, who initially hired Jews from a nearby ghetto to work at his enamel factory in Krakow, Poland, during World War II. He later wound up saving 1,200 Jews from persecution. The moving film was nominated for 12 Academy Awards and won seven, including Spielberg's first Best Director trophy. 1993: Clint Eastwood, Unforgiven Earning the legendary actor/director his first Best Director Oscar was this classic Western. The film won three additional awards — Best Supporting Actor for Gene Hackman, Best Picture and Best Editing. 1992: Jonathan Demme, The Silence of the Lambs Between Sir Anthony Hopkins' disturbing work as Hannibal Lecter and Jodie Foster's portrayal of the naive yet ambitious FBI trainee Clarice, the film achieved Oscars greatness, winning Oscars for Demme, both of its stars and for Best Screenplay. 1991: Kevin Costner, Dances with Wolves Kevin Costner had a heck of a directorial debut with Dances with Wolves, as the film was nominated for a whopping 12 Academy Awards. It garnered seven trophies at the 63rd Academy Awards in 1991, including Best Picture. 1990: Oliver Stone, Born on the Fourth of July Starring Tom Cruise, Kyra Sedgwick and Willem Dafoe, this anti-war film also took home a Best Editing Oscar and marked a second Best Director win for Oliver Stone. 1989: Barry Levinson, Rain Man Barry Levinson (above, right) won for this road trip comedy starring Dustin Hoffman and Tom Cruise back in 1989. Additionally, the film earned Hoffman his second Oscar, as the legendary star won Best Actor that year. (Fun fact: Barry Levinson is Euphoria creator Sam Levinson's father.) 1988: Bernardo Bertolucci, The Last Emperor Starring John Lone as the titular character, The Last Emperor chronicled the real life of Pu Yi, the last emperor of China, as he tells his story from his ascension to the throne to his imprisonment. The film won nine Oscars at the 60th Academy Awards, including Best Picture and Best Cinematography. 1987: Oliver Stone, Platoon Starring Tom Berenger, Willem Dafoe, Charlie Sheen, Johnny Depp, Keith David, Kevin Dillon, John C. McGinley and Forest Whitaker, this star-packed war film earned Stone his first Oscar for Best Director. 1986: Sydney Pollack, Out of Africa With Robert Redford and Meryl Streep at the helm, it's no wonder Out of Africa scored 11 nominations from the Academy and walked away with seven trophies in 1986. 1985: Miloš Forman, Amadeus A fictionalized version of Wolfgang Amadeus Mozart's life, Amadeus garnered 11 Oscar nominations in 1985 with both its leads — Tom Hulce, who played the titular character, and F. Murray Abraham, who played his rival, Antonio Salieri — nominated for Best Actor. Abraham beat Hulce and won the Oscar that year, but with eight wins to Amadeus' name, just about everybody walked away a winner. 1984: James L. Brooks, Terms of Endearment Starring Debra Winger, Shirley MacLaine, Jack Nicholson, Danny DeVito, Jeff Daniels and John Lithgow, Terms of Endearment was nominated for 11 Oscars at the 56th Academy Awards. Though it only won five, the film still had the most wins that night, including Best Actress for MacLaine and Best Supporting Actor for Nicholson. 1983: Richard Attenborough, Gandhi Depicting the life of Mahatma Gandhi from 1893 till his assassination in 1948, Gandhi garnered 11 nominations and won eight awards, the most of any film that year. 1982: Warren Beatty, Reds Warren Beatty wrote, starred in and produced this historical drama based on the life and career of John Reed, an American journalist, poet and communist activist who grew to prominence for his coverage of the October Revolution in Russia. 1981: Robert Redford, Ordinary People Actor-turned-director Robert Redford made his directorial debut with Ordinary People. The film had six nominations at the 53rd Academy Awards and took home four, including Best Actor in a Supporting Role for Timothy Hutton. 1980: Robert Brenton, Kramer vs. Kramer Based on a novel of the same name, Kramer vs. Kramer starred Meryl Streep and Dustin Hoffman as a warring couple in the middle of a divorce. In addition to the Best Director win, the film also walked away with the Best Actor trophy for Hoffman and a Best Supporting Actress win for Streep. Justin Henry, who played Hoffman and Streep's son in the film, became the youngest person nominated for an Academy Award at 8 years old, and still holds the record today, per IMDb. 1979: Michael Cimino, The Deer Hunter The Deer Hunter starred Robert De Niro, Christopher Walken, John Savage, Meryl Streep, John Cazale and George Dzundza. It was nominated for nine Academy Awards and earned five, including Best Supporting Actor for Walken. 1978: Woody Allen, Annie Hall Following comedian Alvy Singer (Allen) as he analyzes his failed relationship with a former flame (played by Diane Keaton), Annie Hall won Allen his first Academy Awards, including Best Picture and Best Screenplay Written Directly for the Screen. Keaton also won the Best Actress Oscar that year. 1977: John G. Avildsen, Rocky Written by Sylvester Stallone, the classic American drama won three awards at the 1977 Oscars: Best Picture, Best Director and Best Film Editing. 1976: Miloš Forman, One Flew Over the Cuckoo's Nest Another hit movie starring Jack Nicholson, One Flew Over the Cuckoo's Nest swept all the major categories in 1976: Best Director, Best Actor, Best Actress, Best Screenplay and Best Picture. 1975: Francis Ford Coppola, The Godfather Part II With an ensemble cast that featured heavyweights such as Al Pacino, Robert De Niro, Diane Keaton and Lee Strasberg, it's no wonder The Godfather II was a huge hit, and still remains a revered film to this day. The Godfather II had 11 nods at the 47th Academy Awards and won six, becoming the first sequel to win Best Picture. 1974: George Roy Hill, The Sting With Robert Redford and Paul Newman at the helm, The Sting won a total of seven Oscars, including Best Picture and Best Film Editing. 1973: Bob Fosse, Cabaret Liza Minnelli's career was on a steady climb when she starred in Cabaret, and her win for Best Actress in the Fosse film certainly catapulted her to the next level. In addition to Minnelli's trophy, Joel Grey also won Best Actor in a Supporting Role. Additionally, Cabaret won Best Original Score, Best Film Editing, Best Sound, Best Art Direction and Best Cinematography. 1972: William Friedkin, The French Connection Going into the 44th Academy Awards in 1972, The French Connection had eight nominations. On top of Friedkin's win, the crime drama also took home Best Picture, Best Actor for Gene Hackman, Best Director, Best Film Editing and Best Adapted Screenplay. 1971: Franklin J. Schaffner, Patton Based on the life of controversial WWII hero General George S. Patton, Patton starred George C. Scott as the titular character, plus Karl Malden, James Edwards, Bill Hickman and Carey Loftin. The film won seven awards including Best Picture and Best Screenplay, plus Best Actor for Scott, which he declined, reportedly because he didn't believe in the idea of pitting actors against one another, History.com reports. 1970: John Schlesinger, Midnight Cowboy Based on a novel of the same name, Midnight Cowboy was led by stars Jon Voight and Dustin Hoffman. In addition to Best Director, the film won Best Picture and Best Screenplay. 1969: Carol Reed, Oliver! "Please sir, I want some more," is one of the most iconic lines of all time. The classic catchphrase was derived from this 1968 British film, which was nominated for 11 awards at the 41st Academy Awards in 1969 and won six. 1968: Mike Nichols, The Graduate Another true American classic, The Graduate surprisingly walked away with only one Academy Award, after having been nominated for seven. 1967: Fred Zinnemann, A Man for all Seasons Written by Robert Bolt from a play of the same name, A Man for All Seasons followed the last years of Sir Thomas More, the 16th-century Lord Chancellor of England who refused to sign a letter asking Pope Clement VII to annul Henry VIII's marriage. Sir More also refused to take the oath declaring King Henry VIII Supreme Head of the Church of England. A Man of All Seasons was nominated for eight awards and won six, including Best Actor for Paul Scofield. 1966: Robert Wise, The Sound of Music Starring Dame Julie Andrews and Christopher Plummer, this classic musical drama was nominated for 10 Academy Awards and nabbed five. 1965: George Cukor, My Fair Lady Based on the 1913 play Pygmalion by George Bernard Shaw, My Fair Lady starred Audrey Hepburn and Rex Harrison. The film was an immediate hit, becoming the second highest-grossing film of 1964. My Fair Lady was nominated for 12 Academy Awards and won eight, including Best Actor in a Leading Role for Harrison. 1964: Tony Richardson, Tom Jones One of the most revered comedies of its time, Tom Jones was nominated for 10 Oscars at the 36th Academy Awards in 1964. The film won four: Best Picture, Best Director, Best Score and Best Screenplay. 1963: David Lean, Lawrence of Arabia With 10 nods at the 1963 Oscars, Lawrence of Arabia starred Peter O'Toole as Lawrence, as well as Alec Guinness, Jack Hawkins, Anthony Quinn and Omar Sharif. The film won a majority of the awards it was nominated for, taking home seven. 1962: Jerome Robbins & Robert Wise, West Side Story The music, the dancing, the picture! West Side Story was an immediate cultural phenomenon. It starred Rita Moreno, Natalie Wood, Richard Beymer, Russ Tamblyn and George Chakiris. The movie was nominated for 11 Oscars and nearly had a clean sweep, winning 10, including Best Actress in a Supporting Role for Moreno, and Best Actor in a Supporting Role for Chakiris. West Side Story made history as the most decorated musical at the Oscars, a record it still holds today. 1961: Billy Wilder, The Apartment Starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston, Jack Kruschen, David Lewis, Willard Waterman, David White, Hope Holiday and Edie Adams, this rom-com was nominated for 10 awards and won four, in addition to Best Director. 1960: William Wyler, Ben-Hur Revered as one of the greatest films in history, Ben-Hur won 11 trophies at the 32nd Academy Awards, including Best Picture, Best Actor for Charlton Heston and Best Actor in a Supporting Role for Hugh Griffin. 1959: Vincente Minnelli, Gigi Delivering a clean sweep at the 31st Academy Awards, Gigi won all nine of the Oscars it was up for, including Best Picture, Best Cinematography and Best Original Song. 1958: David Lean, The Bridge on the River Kwai Starring Alec Guinness, William Holden, Sessue Hayakawa and Jack Hawkins, The Bridge on the River Kwai was nominated for eight Oscars and won seven, losing only in the Best Actor in a Supporting Role category. 1957: George Stevens, Giant Serving as James Dean's last film, Giant earned the famous actor his second posthumous Oscar nomination, according to the Academy. The film also starred Elizabeth Taylor, Rock Hudson, Mercedes McCambridge and Dan Hopper. Though it was nominated for 10 awards, Stevens' win for best director was the only trophy Giant won. 1956: Delbert Mann, Marty This romantic drama was Mann's directorial debut and he did pretty well for a first-timer. Not only did he win Best Director, but the film also won Best Picture, Best Actor for Ernest Borgnine and Best Screenplay. 1955: Elia Kazan, On the Waterfront Marlon Brando's character may not have been a contender in this film, but On the Waterfront certainly was at the 27th Academy Awards. The film had a staggering 12 nominations and won eight. Brando won Best Actor, while Eva Marie Saint won Best Supporting Actress. Though Edmond O'Brien won for his role in Barefoot Contessa, it's worth noting that three out of the five Best Supporting Actor nominees at the 1955 Academy Awards starred in this film — Lee J. Cobb, Karl Malden and Rod Steiger. The fifth nominee was Tom Tully for his role in The Caine Mutiny. 1954: Fred Zinnemann, From Here to Eternity With 13 nominations to its name, From Here to Eternity was certainly one to watch at the 1954 Oscars. And it delivered. In addition to Zinnemann's Best Director win, Frank Sinatra won the prize for Best Actor in a Leading Role and Donna Reed won Best Actress in a Supporting Role. From Here to Eternity took home eight Oscars in total. 1953: John Ford, The Quiet Man Starring John Wayne, Maureen O'Hara, Barry Fitzgerald, Ward Bond and Victor McLaglen, The Quiet Man followed the journey of a retired American boxer who returns to his birthplace of Innisfree, Ireland. He falls in love with a girl whose brother does not support their union and the drama ensues. The film was nominated for seven Academy Awards and won two: Best Director and Best Cinematography. 1952: George Stevens, A Place in the Sun Based on the novel and play An American Tragedy, A Place in the Sun starred Montgomery Clift, Elizabeth Taylor and Shelley Winters. It tracked the tragic love triangle between George Eastman (Clift), Alice Tripp (Winters) and Angela Vickers (Taylor). The film won six awards out of nine nominations. 1951: Joseph L. Mankiewicz, All About Eve All About Eve starred Bette Davis, Anne Baxter, Celeste Holm, Hugh Marlowe, George Sanders and Thelma Ritter. The movie was nominated for a record-breaking 14 awards and won six including Best Actor in a Supporting Role for Sanders and Best Picture. 1950: Joseph L. Mankiewicz, A Letter to Three Wives This romantic drama was about a woman who writes a letter to three women, telling them she has skipped town with one of their husbands but doesn't say which one. Starring Jeanne Crain, Linda Darnell, Ann Sothern, Paul Douglas, Kirk Douglas and Jeffrey Lynn, the film was nominated for three Oscars and won two, Best Director and Best Screenplay. It was also up for Best Picture. 1949: John Huston, The Treasure of the Sierra Madre The Treasure of the Sierra Madre starred Humphrey Bogart and Tim Holt as two down-on-their-luck men who go searching for gold in Mexico. The film won three of the four Oscars it was nominated for: Best Actor in a Supporting Role for Walter Huston, plus Best Director and Best Screenplay for John Huston. 1948: Elia Kazan, Gentleman's Agreement Gentleman's Agreement was nominated for eight Oscars at the 20th Academy Awards and walked away with three: Best Picture, Best Director and Best Actress in a Supporting Role for Celeste Holm. 1947: William Wyler, The Best Years of Our Lives The Best Years of Our Lives followed three men as they tried to assimilate to civilian life after serving in WWII. The drama won seven awards: Best Picture, Best Director, Best Actor (Fredric March), Best Supporting Actor (Harold Russell), Best Film Editing, Best Adapted Screenplay and Best Original Score. 1946: Billy Wilder, The Lost Weekend Starring Ray Milland and Jane Wyman, The Lost Weekend was based on a novel of the same name, about a struggling alcoholic writer who goes on a weekend bender. The film was nominated for seven Academy Awards and won four: Best Picture, Best Director, Best Actor for Milland and Best Adapted Screenplay. 1945: Leo McCarey, Going My Way The highest-grossing film of 1944, it's no surprise that Going My Way had 10 nominations at the 1945 Academy Awards. The film won seven, including Best Picture, Best Actor for Bing Crosby and Best Supporting Actor for Barry Fitzgerald. 1944: Michael Curtis, Casablanca Another widely revered classic, Casablanca starred Humphrey Bogart, Ingrid Bergman and Paul Henreid. The film won three Academy Awards: Best Director, Best Screenplay and Best Picture. 1943: William Wyler, Mrs. Miniver Following a middle-class family as they cope with WWII, Mrs. Miniver earned four Oscars: Best Actress and Best Supporting Actress for Greer Garson and Teresa Wright, respectively, as well as the Best Director win for Wyler and Best Screenplay. 1942: John Ford, How Green Was My Valley Though How Green Was My Valley was a hit and came in with 10 nominations at the 1942 ceremony, people were still shocked when the drama beat out Citizen Kane for Best Picture. 1941: John Ford, The Grapes of Wrath Based on the John Steinbeck novel of the same name, The Grapes of Wrath was a commentary on The Great Depression and how it affected working-class people. The film adaption starred Henry Fonda, Jane Darwell, John Carradine and Dorris Bowdon, among others. It was nominated for seven awards and won Best Director and Best Supporting Actress for Darwell. 1940: Victor Fleming, Gone with the Wind Though this film was greatly respected for decades, its depictions of the Civil War and slavery haven't aged well. It was pulled from HBO Max in 2020, but later put back on the platform with a disclaimer. Nonetheless, it received 10 Oscars at the 12th Academy Awards including the historic Best Supporting Actress trophy for Hattie McDaniel, who became the first Black person to be nominated for and win an Oscar. 1939: Frank Capra, You Can't Take It with You You Can't Take It with You laid the groundwork for rom-coms to come. The film depicted a man from an uptight, wealthy family who falls in love with a girl from an eccentric family. The couple invites their relatives to dinner and comedy ensues as opposing family forces interact. Capra won Best Director and Best Picture for You Can't Take It with You at the 1939 Academy Awards. 1938: Leo McCarey, The Awful Truth Nominated for six Academy Awards, including Best Picture, Best Actress for Irene Dunne and Best Supporting Actor for Carey Grant, this romantic comedy followed a couple as they go through a divorce, but continue to meddle in each other's new love affairs. 1937: Frank Capra, Mr. Deeds Goes to Town Two years after It Happened One Night, Capra was once again tops at the Oscars with this heartfelt comedy starring Gary Cooper and Jean Arthur. He walked away with the Best Director trophy. The film was rebooted in 2002 with Adam Sandler and Winona Ryder in the leading roles. 1936: John Ford, The Informer Directed and produced by Ford, The Informer was a major contender at the 8th Academy Awards in 1936. The film was nominated for six awards and won four: Best Actor (Victor McLaglen), Best Director, Best Screenplay and Best Original Score. 1935: Frank Capra, It Happened One Night Setting the bar for years to come, Capra's It Happened One Night was the first film to win in all the major categories: Best Director, Best Picture, Best Actor (Clarke Gable), Best Actress (Claudette Colbert) and Best Adapted Screenplay. It also launched what was known as Capra's "golden period" in which he won several of the coveted competitive Oscars in just five years. 1934: Frank Lloyd, Cavalcade In a cavalcade of historic events, this epic film chronicled significant moments in the first third of the 20th century, from the sinking of the Titanic to the death of Queen Victoria to the beginning of World War I. Cavalcade was nominated for four awards at the 1934 ceremony and it won three: Best Director, Best Picture and Best Art Direction. 1933: Frank Borzage, Bad Girl Released in September 1931, Bad Girl was honored in 1933 because at the time, the Academy Awards celebrated films that came out between Aug. 1 of one year to Jul. 31 of the following, as opposed to the full calendar year as is now the norm. Bad Girl was up for three awards and won two. The other win was for Best Writing, Adaptation. 1932: Norman Taurog, Skippy Skippy, which came out in April 1931, starred Jackie Cooper, Robert Coogan, Mitzi Green and Jackie Searl. The film was up for four awards and won Best Director. Unknowingly, then-32-year-old Taurog made history as the youngest director to ever get the coveted prize. His record was broken decades later when Damien Chazelle won best director for La La Land in 2016. Though Chazelle was also 32, he was 221 days younger than Taurog at the time he won, according to The Hollywood Reporter. 1931: Lewis Milestone, All Quiet on the Western Front Proving that great art stands the test of time is this anti-war drama, which was remade in 2022 and is once again a big contender at the 2023 Academy Awards. First released in 1930, All Quiet on the Western Front was nominated for four awards and won two, Best Director and Best Picture. The remake, which stars Felix Kammerer, Albrecht Schuch, Daniel Brühl, Sebastian Hülk, Aaron Hilmer, Edin Hasanovic and Devid Striesow, is up for nine awards at this year's ceremony. 1930: Frank, Lloyd, The Divine Lady Released in 1928, The Divine Lady chronicled the love affair between Viscount Horatio Nelson and Lady Emma Hamilton. The film was nominated for three awards and won Best Director. 1929: Lewis Milestone, Two Arabian Knights & Frank Borzage, 7th Heaven The First Academy Awards were an event of trial and error and the year saw two winners in the Best Director category. Milestone won Best Director, Comedy Picture for Two Arabian Knights and he would be the only director to hold the title, as Borzage won Best Director, Dramatic Picture for 7th Heaven. The following year, the two categories were merged to form the singular Best Director category we know today.
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"https://ichef.bbci.co.uk/images/ic/160x90/p0jcg2rq.jpg.webp 160w,https://ichef.bbci.co.uk/images/ic/240x135/p0jcg2rq.jpg.webp 240w,https://ichef.bbci.co.uk/images/ic/320x180/p0jcg2rq.jpg.webp 320w,https://ichef.bbci.co.uk/images/ic/480x270/p0jcg2rq.jpg.webp 480w,https://ichef.bbci.co.uk/images/ic/640x360/p0jcg2rq.jpg.webp 640w,https://ichef.bbci.co.uk/images/ic/800x450/p0jcg2rq.jpg.webp 800w,https://ichef.bbci.co.uk/images/ic/1024x576/p0jcg2rq.jpg.webp 1024w,https://ichef.bbci.co.uk/images/ic/1376x774/p0jcg2rq.jpg.webp 1376w,https://ichef.bbci.co.uk/images/ic/1920x1080/p0jcg2rq.jpg.webp 1920w", "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/images/ic/160x90/p0jcbcgg.jpg.webp 160w,https://ichef.bbci.co.uk/images/ic/240x135/p0jcbcgg.jpg.webp 240w,https://ichef.bbci.co.uk/images/ic/320x180/p0jcbcgg.jpg.webp 320w,https://ichef.bbci.co.uk/images/ic/480x270/p0jcbcgg.jpg.webp 480w,https://ichef.bbci.co.uk/images/ic/640x360/p0jcbcgg.jpg.webp 640w,https://ichef.bbci.co.uk/images/ic/800x450/p0jcbcgg.jpg.webp 800w,https://ichef.bbci.co.uk/images/ic/1024x576/p0jcbcgg.jpg.webp 1024w,https://ichef.bbci.co.uk/images/ic/1376x774/p0jcbcgg.jpg.webp 1376w,https://ichef.bbci.co.uk/images/ic/1920x1080/p0jcbcgg.jpg.webp 1920w" ]	[]	[]	[ "" ]	null	[ "Adam Scovell" ]	2024-04-09T10:49:23.340000+00:00	Francis Ford Coppola's 1974 film The Conversation was a passion project – and its tale of a surveillance expert disturbed by what he hears hits even harder in 2024.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/culture/article/20240408-the-conversation-at-50-why-the-paranoid-thriller-is-more-relevant-than-ever	Released between the Godfathers, Francis Ford Coppola's 1974 film was a passion project – and its tale of a surveillance expert disturbed by what he hears hits even harder in 2024. Ever get the feeling you are being watched? How many cameras caught you on your way to work today? How many companies tracked your buying habits on your lunch break? Where is all this information about you going? These may be obviously pertinent questions in the digital age, when 21st-Century technology gives corporations and institutions unprecedented access to our personal information, but they've been the subject of feverish concern for decades. Arguably it was during the 1970s, especially in the US, where the issue of surveillance and privacy really came into public focus for the first time. The decade's political scandals provided such an increase in awareness surrounding these issues that they quickly filtered into popular culture, especially cinema. American New Wave cinema – the movement of young, maverick directors who reshaped the film industry from the mid-1960s – was especially concerned with these themes. From Alan J Pakula's Klute (1971) and The Parallax View (1974), to Sydney Pollack's Three Days of the Condor (1975), US thrillers gained a paranoid edge. Arguably the most effective and evocative of all these was Francis Ford Coppola's The Conversation (1974), released 50 years ago this week. The Conversation follows Harry Caul (Gene Hackman), a skilled private surveillance expert. He is tasked by a shadowy client, known to him as "the Director" (Robert Duvall), with the difficult job of recording the conversation of a couple walking around the bustling Union Square in San Francisco, meticulously taping what he suspects is an affair. The slowness and sharp but low-key focus of the film is a remarkable shift in tone from the emotion and drama of Coppola's The Godfather – Lucy Bolton Caul grapples with ethical dilemmas as he navigates the murky world of his profession. As he edits his tape, he worries that he is being used for purposes other than mere surveillance, eventually refusing to hand over his work to the Director's underling Martin Stett (Harrison Ford). Believing from what he hears on the recording that there may be a plot to murder the couple – one half of which is the adulterous wife of the Director (Cindy Williams) – he grows paranoid about being surveilled himself. Caul's guilt and obsession intensifies, leading to a breakdown of his personal and professional life: he is also haunted by a death caused by his work on an earlier case. Amid what was a remarkable period for Francis Ford Coppola, with the success of The Godfather (1972) and The Godfather: Part II (1974), The Conversation was really his passion project. As Professor Lucy Bolton, a specialist in Film Philosophy at Queen Mary, University of London, suggests, this was "Coppola's chance to make a personal, intimate and intellectual work. He didn't actually want to make The Godfather: Part II, but agreed to so that he could make The Conversation. The slowness and sharp but low-key focus of the film is a remarkable shift in tone from the emotion and drama of The Godfather." Filming it in between those two more famous films, Coppola masterfully crafted a taut psychological thriller that has as much to say about today's climate of surveillance as it does about its era of production – albeit with the interesting contrast between the analogue then and the digital now. The paranoid climate of the time The US in the early 70s still bore the scars of the political turmoil of the previous decade, one defined by assassinations, riots and an increasing awareness of the technology and techniques deployed by the state's secret services. Cinema had already tapped into the latter phenomenon, with films such as John Frankenheimer's The Manchurian Candidate (1962) and Seven Days in May (1964) channelling a growing societal paranoia into thrilling drama. Yet US cinema of the early 1970s further dialled up such paranoia, supercharged especially by the momentum of the Watergate scandal – the fallout from a 1972 break-in at Democrat Headquarters in the Watergate Building, Washington DC, and the subsequent attempt by the Richard Nixon administration to cover up their involvement. With the revelations that they had been spying on their political opponents using phone-tapping, among other things – information that required thriller-like manoeuvring to uncover by journalists Bob Woodward and Carl Bernstein, eventually dramatised by Pakula in All the President's Men (1976) – the American New Wave became obsessed with the possibilities of this new surveilled US. More like this: Coppola's film is arguably the strongest of the small movement of films anticipating and responding to Watergate because it really understands the atmosphere of the time and what the possibility of being spied on does to people. "The backdrop of the film is the growing paranoia about surveillance generally, and the film's release captures the mood of the time in the midst of the Watergate scandal," says Dr Dan Lomas of the University of Nottingham, an Assistant Professor in International Relations with a background in Intelligence & Security Studies. It was partly luck that the film was in the right place at the right time, however. "Of course," Lomas continues, "links to Watergate are coincidental. Coppola is filming in autumn 1972 to early 1973, and the filming ends just as the real scandal of Watergate starts to get political attention, but the film's release in April 1974 is really in the midst of the national scandal." Nixon resigned as president a few months later, in August 1974. Bolton also agrees that The Conversation both foreshadowed and encapsulated the Watergate era. "The film has inevitably gained associations with Watergate because of the timing, the theme of covert surveillance, and indeed the equipment that Caul uses," she echoes, "but in fact the film was well underway before the Watergate scandal broke. So, it's interesting to think of how the film was so in touch with the zeitgeist, and the timing of its release consolidated it as a work that's emblematic of the period's paranoia." I think the film certainly does live on because of the wider fear of so-called 'surveillance capitalism' and the growth and influence of the private tech sector – Dan Lomas The film's psychological drama, not to mention its realism, is especially aided by the soundscape constructed by Walter Murch, who was nominated for an Oscar for best sound mixing for the film, and would go on to win with his work on another Coppola film, Apocalypse Now (1979), when he also became the first person to receive the film credit of sound designer. The sound technology used throughout the film was unnervingly similar to that associated with the period's real scandals. "Coppola admitted his shock that some of the equipment used in the film mirrored the Watergate scandal and modern-day surveillance practices in the US [more generally]," Lomas explains. How it resonates now With 21st-Century hindsight, the paranoia of The Conversation does feel somewhat ironic. After all, we have never been happier to hand over the kind of information that someone like Harry Caul went to great pains to obtain. Aside from us willingly volunteering such information, digital technology has also provided easier means for us to be surveilled compared to Caul's complicated analogue set-up. In 2019, documents published by Wikileaks that appeared to be from the CIA's Center for Cyber Intelligence detailed a project in which the organisation could potentially hack a Samsung F8000 smart TV set, allowing for microphones to listen in while the television appeared off. The Weeping Angel project, as it was codenamed, broke as a story but then seemed to disappear. Being watched and listened to is now so utterly normal that it warranted little more than a collective shrug. The idea of surveillance deployed in homes in such everyday circumstances recalls the final scene in Coppola's film. Caul receives a threatening phone call in which it is revealed that his flat has been bugged. The final scenes show him taking apart the flat in his search for the potential device but to no avail, eventually sitting among the ruins of his room mournfully playing his saxophone. While there's some ambiguity as to whether the bug is be in the saxophone itself, or the whole scene is in fact a delusion, the effect on the character is the same, triggering a breakdown in him. It is not potential surveillance in the pursuit of information; it is surveillance as threat. Yet, would Caul have been that bothered by the same threat in 2024? "It's interesting to see the analogue mechanics of the technology [in the film] and how successful it is," Bolton aptly suggests, "but compared to the level of surveillance that we are all under today it seems primitive and low-key. When we think about the facial recognition systems in shopping centres and the GPS tracking enabled by our phones, we are surveilled to a degree that would be unimaginable to Caul. The Conversation serves to highlight the magnitude of invasiveness that is surveillance, and the possibilities of misinterpretation, and the acquisition by bad actors. These themes could not be more relevant to our current situation." Perhaps this is why the film has aged so well: its paranoia highlights our surprising acceptance of far greater levels of modern surveillance. Lomas also believes that in some ways the film has only become more pertinent than it was in 1974, because the private technology sector, which Harry Caul does somewhat represent in the film, has arguably become so powerful and dominant in the digital age. "I think the film certainly does live on because of the wider fear of so-called 'surveillance capitalism' and the growth and influence of the private tech sector," he says. "The real enemy in the film isn't the CIA or FBI: the enemy is the private sector who put morals and ethics aside for the sake of profit. Today, we see that all aspects of our lives can be monitored by the private sector. Your data is a commodity that's passed on to others, and, for all the concern about state surveillance, it's private tech that's the issue." -- If you liked this story, sign up for The Essential List newsletter – a handpicked selection of features, videos and can't-miss news delivered to your inbox every Friday. Facebook page or message us on X.
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"https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WOMANONTHERUN1950.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WORLDFORRANSOM1954.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/custom_themes/333446887914357170/files/PosterImages/WRONGMANTHE1956.jpg", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/374420498.jpg?1689793282", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/296521241.jpg?1689793275", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/152731609.jpg?1689793302", "https://www.timelesstheater.com/uploads/8/7/8/4/87845814/published/pre-code-2.jpg?1693249570" ]	[]	[]	[ "1950s Suspense Movies", "1950s Crime Dramas", "Film Noir", "3 STEPS TO THE GALLOWS", "5 FINGERS", "711 OCEAN DRIVE", "99 RIVER STREET", "ACCUSED OF MURDER", "ANGEL FACE", "ANOTHER MAN'S POISON" ]	null	[]	null	What the World War II era was to 1940's film noir, the Cold War era was to 1950's noir. These films reflected the fear, mistrust, and paranoia of the Cold War era - and the unease of the threat of nuclear annihilation. The 50's saw a departure of th	en		The Timeless Theater	https://www.timelesstheater.com/1950-suspense.html	What the World War II era was to 1940's film noir, the Cold War era was to 1950's noir. These films reflected the fear, mistrust, and paranoia of the Cold War era - and the unease of the threat of nuclear annihilation. The 50's saw a departure of the more simplistic hard-boiled detective and criminal characters , in favor of darker psychological character studies of anti-heroes. We also saw a spread of noir-influenced Westerns ("Pursued") and Science Fiction ("Invasion of the Body Snatchers"). While absent the larger budgets of the previous decade, many crime and suspense films of the1950's were relegated to the lower budget, B-movie status - albeit their budgetary restrictions, these same films helped define the Film Noir genre. Notable actors featured in this era include: Edmond O'Brien, Joanne Dru, John Payne, Evelyn Keyes, Glenn Ford, Rita Hayworth, Robert Mitchum, Robert Ryan, and Dana Andrews.
6282	dbpedia	2	4	https://letterboxd.com/film/the-secret-of-the-whistler/	en	The Secret of the Whistler (1946)	https://a.ltrbxd.com/res…jpg?v=864da0d47c	https://a.ltrbxd.com/res…jpg?v=864da0d47c	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/1/4/5/5/1/6/9/shard/avtr-0-80-0-80-crop.jpg?v=9fc5ebe826", "https://a.ltrbxd.com/resized/avatar/twitter/3/2/9/1/8/shard/http___a0.twimg.com_profile_images_150082058_b-0-80-0-80-crop.jpg?v=23c844b0db", "https://a.ltrbxd.com/resized/avatar/upload/6/7/4/6/6/4/0/shard/avtr-0-80-0-80-crop.jpg?v=2992c9379a", "https://a.ltrbxd.com/resized/avatar/upload/3/1/7/6/2/6/shard/avtr-0-80-0-80-crop.jpg?v=19a9a8d29d", "https://a.ltrbxd.com/resized/avatar/upload/9/0/7/1/4/9/3/shard/avtr-0-80-0-80-crop.jpg?v=0f2d2f71ec", "https://a.ltrbxd.com/resized/avatar/twitter/1/7/8/3/7/6/9/shard/http___pbs.twimg.com_profile_images_643850413809246212_oeH3KhIp-0-80-0-80-crop.jpg?v=76c2064d54", "https://a.ltrbxd.com/resized/avatar/twitter/1/9/2/3/3/9/shard/http___pbs.twimg.com_profile_images_992774051377672192_x6G1VNXO-0-80-0-80-crop.jpg?v=e9b831c9ea", "https://a.ltrbxd.com/resized/avatar/twitter/3/1/3/7/8/shard/http___a0.twimg.com_profile_images_3740101724_d56116b166c6ddb6e6be14da87884b12-0-80-0-80-crop.png?v=922c384898", "https://a.ltrbxd.com/resized/avatar/upload/5/2/5/0/5/3/7/shard/avtr-0-80-0-80-crop.jpg?v=57e6a13ec7", "https://a.ltrbxd.com/resized/avatar/upload/3/3/4/4/4/3/shard/avtr-0-80-0-80-crop.jpg?v=2f6db5b1ea", "https://a.ltrbxd.com/resized/avatar/upload/1/9/0/7/8/6/8/shard/avtr-0-80-0-80-crop.jpg?v=f0325859f3", "https://a.ltrbxd.com/resized/avatar/twitter/6/2/6/8/shard/http___a0.twimg.com_profile_images_379298447_mutantzoid2-0-80-0-80-crop.jpg?v=471755f205", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png" ]	[]	[]	[ "" ]	null	[]	null	A deranged artist who may have murdered his wife is investigated by the Whistler.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/the-secret-of-the-whistler/	While The Secret of the Whistler is one of the weaker entries in the series, it still proves to be a fun, fast-paced noir programmer that’s sure to entertain. The 6th film in the franchise continues with the tried and true trademarks of these films: Richard Dix as the protagonist, an hour of runtime, an omniscient narrator, and some fabulous chiaroscuro lighting. The story in this one really isn’t worth writing about, though. It’s nothing that hasn’t been done elsewhere: the kept man’s rich wife gets sick and he starts to pursue other women, consequences occur. That said, Secret manages to make it a fun watch nonetheless. I’m a little sad to be coming to the end of the series so…
6282	dbpedia	0	17	https://trailersfromhell.com/columbia-noir-6-the-whistler/	en	Columbia Noir #6: The Whistler	https://trailersfromhell…stler-banner.jpg	https://trailersfromhell…stler-banner.jpg	[ "https://trailersfromhell.com/wp-content/uploads/2018/09/TFH-Seal.png", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-banner.jpg", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-cover.jpg\"", "https://trailersfromhell.com/wp-content/uploads/2024/06/IMG_4703-190x300.jpeg", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-3.jpg", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-6-279x300.jpg", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-7-197x300.jpg", "https://trailersfromhell.com/wp-content/uploads/2024/06/IMG_4690-256x300.jpeg", "https://trailersfromhell.com/wp-content/uploads/2024/06/whistler-9-216x300.jpg", "https://secure.gravatar.com/avatar/a46d467532cb3b1b6cbae24f8925924e?s=56&d=mm&r=x", "https://secure.gravatar.com/avatar/a3049c0e08e5864b64780665ec403552?s=56&d=mm&r=x", "https://secure.gravatar.com/avatar/a2beed5fa5970c36b5b96538e3d0fec1?s=64&d=mm&r=x", "https://secure.gravatar.com/avatar/0a92c08f527e4bc8c2e15db9f5d962b1?s=64&d=mm&r=x", "https://secure.gravatar.com/avatar/20c24a061e225a4e7ae58397c2f261e5?s=64&d=mm&r=x", "https://secure.gravatar.com/avatar/620bbbfca969e0534599d2b5a45cac9a?s=64&d=mm&r=x", "https://trailersfromhell.com/wp-content/uploads/2022/03/Letterboxd.svg" ]	[]	[]	[ "" ]	null	[ "Charlie Largent" ]	2024-06-18T15:56:16+00:00	Columbia Noir #6: The Whistler Blu-ray – Region B Powerhouse Indicator 1944 – 1948 Starring Richard Dix, Michael Duane, Leslie Brooks Written by Eric Taylor, William Castle Photographed by James S. Brown Jr., Allen G. Siegler Directed by William Castle, Lew Landers, George Sherman A crime drama with a horror movie heart, The Whistler premiered...	en	https://trailersfromhell…Seal-AppIcon.png	Trailers From Hell	https://trailersfromhell.com/columbia-noir-6-the-whistler/	Blu-ray – Region B Powerhouse Indicator 1944 – 1948 Starring Richard Dix, Michael Duane, Leslie Brooks Written by Eric Taylor, William Castle Photographed by James S. Brown Jr., Allen G. Siegler Directed by William Castle, Lew Landers, George Sherman A crime drama with a horror movie heart, The Whistler premiered on CBS Radio in May of 1942. Written and produced by John Donald Wilson, the first episode featured an ax murderer, his late, unlamented wife, and a haunted house. The episode’s creepy but predictable denouement would set the tone for the show’s 13 year run. The Whistler himself was an enigmatic presence whose melancholy theme song was the only clue to his real motives—yet wartime audiences, weary of escapist fare, were swayed by the program’s jaundiced worldview. The Whistler‘s unexpected success led, almost inevitably, to a big screen adaptation which wallowed in the same dime novel ironies as the radio program. A total of eight films were produced at Columbia Pictures between 1944 and 1946 and Powerhouse has combined them all into one boxset, Columbia Noir #6: The Whistler. The collection accentuates the rushed, haphazard nature of the films, yet they can catch you off guard just the same—viewed in succession they’re like a long night of bad dreams; when one nightmare ends, another is waiting in the wings. All but one of the films featured the silent screen star Richard Dix, and though his roles represented a cross section of archetypal Americans, from truck drivers to tycoons, his character remained the same; born under a bad sign and forever hounded by the “Whistler.” Dix, both the public actor and the private citizen, could not escape that shadowy figure any more than he could escape himself—the actor’s career-ending tailspin, what James Agee called “the desperation of thirst”, gives these penny dreadful noirs an unexpected resonance. Before he turned his movies into amusement park rides, William Castle was a director of low budget crime films, but 1944’s The Whistler showed none of the mischievous spirit that gave the director’s The Tingler and House on Haunted Hill their spookhouse energy. Eric Taylor’s script is based on what must be the urtext for so many future noirs: Jules Verne’s Tribulations of a Chinaman in China, the oft-told tale of a man who hires his own executioner. It’s a fitting introduction to Dix’s tenure—he plays Earl Conrad, a man who lives life waiting for the other shoe to drop. J. Carrol Naish is the tireless assassin circling his prey, and in a role that defines “thankless”, the exquisite Gloria Stuart plays Conrad’s warmhearted secretary. Castle would direct three more entries in the Whistler saga including that same year’s The Mark of the Whistler. Dix plays a drifter who impersonates a missing person in order to cash in on an unclaimed bank account. Written by George Bricker (the bizarre horror-comedy Sh! The Octopus), it’s the first hint that these deadly serious melodramas were playing by comic book rules; the storylines might run off the rails at any moment, character motivation could flip without warning, and preposterous coincidences begin to pile up like old newspapers. And the plot holes, oh, the plot holes. If it seems as if the filmmakers were making it up as they went along, look no further than 1945’s The Power of the Whistler directed by Lew Landers. Dix plays William Everest, an amnesiac who finds a friend in Jean Lang, a sometime fortune-teller who peers into this confused gentleman’s future and sees nothing but trouble. She’s prescient, alright—it turns out this well-dressed ladies man is no gentleman, a revelation that sends this rather sanguine mystery off the deep end. You can’t say it’s boring, which is more than can be said of Castle’s follow-up, 1945’s Voice of the Whistler—a seaside romance destined for a watery grave. The film drums up its own share of oddball plot contrivances, but not enough to make a dent in what Sinatra called ennui, but we call boredom. Dix plays a friendless industrialist on his last legs who retreats to a lonely lighthouse with a nurse named Joan Martin. This blonde and beautiful caregiver is played by Lynn Merrick, the veteran cowgirl of dozens of Republic westerns. She gives the lonely millionaire a reason to live but her fiancé has other ideas and—well, you know what they say about the best laid murder plans. Mysterious Intruder would be Castle’s last hurrah in the Whistler series, a conventional detective thriller with Dix as an unscrupulous gumshoe on the trail of an inheritance. He’ll bend any rule to get his hands on the treasure: two rare wax cylinders from songstress Jenny Lind—a songbird who was obscure even in 1945. George Sherman, the director for Republic’s The Lady and the Monster, took over for The Secret of the Whistler about a greedy artist whose wife can’t die soon enough. Dix is the kept man looking forward to his dearly beloved’s inheritance while platinum bombshell Leslie Brooks undulates on the sidelines. The Ice Princess Brooks would get a chance to finesse her bad girl bona fides in 1948’s Blonde Ice, a low budget B in which she played a society columnist who’s also an energetic murderess. William Clemens directed The Thirteenth Hour with Dix as Steve Reynolds, a trucker whose life goes off the rails along with his rig: he’s accused of multiple murders including the drive-by killing of a jealous cop. Against all odds, Reynolds is exonerated, and even the Whistler seems surprised by this rare outcome; “…you were lucky…fate was kind to you.” The following year Dix suffered a heart attack that signaled a sharp decline in the actor’s health. He died in 1949. D. Ross Lederman directed the final entry in the saga, 1948’s The Return of the Whistler. The ghosts of Notorious and The Man Who Knew Too Much haunt this capricious thriller about a lopsided love triangle: a man, a woman and her dead husband. Michael Duane is Ted Nichols, a civil engineer with an unexpected flair for fist fights—a talent that comes in handy when his fiancée (played by Lenore Albert) is abducted by a band of possibly shady characters. The movie is positively Hitchcockian in its twists and turns thanks to an inventive story by Cornell Woorich and though it suffers in just about every comparison to an actual Hitchcock film, it’s an enjoyable time-killer with—hold on to your hats—a happy ending. Powerhouse has performed wonders on these warhorses—the transfers are near immaculate and the prints are in great shape save for occasional light scratches. Among the extras are commentaries from film historians Eloise Ross, Josh Nelson, and the late Lee Gambin. Kim Newman contributes A Whistle-Stop Tour, an overview of the Whistler films, but the cherry on top is an exclusive 120-page book with a new essay from Tim Lucas, an archival interview with Dix, and a extract from director William Castle’s autobiography.
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Suspense" redirect here. For the album, see Master of Suspense (album). For the police officer, see Alf Hitchcock. For other uses, see Hitchcock (disambiguation). Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English film director. He is widely regarded as one of the most influential figures in the history of cinema.[1] In a career spanning six decades, he directed over 50 feature films,[a] many of which are still widely watched and studied today. Known as the "Master of Suspense", Hitchcock became as well known as any of his actors thanks to his many interviews, his cameo appearances in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director, despite five nominations. Hitchcock initially trained as a technical clerk and copywriter before entering the film industry in 1919 as a title card designer. His directorial debut was the British–German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie".[4] His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943) and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director.[5] He also received Oscar nominations for Lifeboat (1944), Spellbound (1945), Rear Window (1954) and Psycho (1960).[6] Hitchcock's other notable films include Rope (1948), Strangers on a Train (1951), Dial M for Murder (1954), To Catch a Thief (1955), The Trouble with Harry (1955), Vertigo (1958), North by Northwest (1959), The Birds (1963) and Marnie (1964), all of which were also financially successful and are highly regarded by film historians. Hitchcock made multiple films with some of the biggest stars in Hollywood, including four with Cary Grant, four with James Stewart, three with Ingrid Bergman and three consecutively with Grace Kelly. Hitchcock became an American citizen in 1955. In 2012, Hitchcock's psychological thriller Vertigo, starring Stewart, displaced Orson Welles' Citizen Kane (1941) as the British Film Institute's greatest film ever made based on its world-wide poll of hundreds of film critics.[7] As of 2021 , nine of his films had been selected for preservation in the United States National Film Registry,[b] including his personal favourite, Shadow of a Doubt (1943).[c] He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979, and was knighted in December of that year, four months before his death on 29 April 1980.[10] Biography [edit] Early life: 1899–1919 [edit] Early childhood and education [edit] Alfred Joseph Hitchcock was born on 13 August 1899 in the flat above his parents' leased greengrocer's shop at 517 High Road in Leytonstone, which was then part of Essex (now on the outskirts of east London). He was the son of greengrocer and poulterer, William Edgar Hitchcock (1862–1914) and Emma Jane (née Whelan;1863–1942). The household was "characterised by an atmosphere of discipline".[11] He had an older brother named William John (1888–1943) and an older sister named Ellen Kathleen (1892–1979) who used the nickname "Nellie". His parents were both Roman Catholics with partial Irish ancestry.[13] His father was a greengrocer, as his grandfather had been.[14] There was a large extended family, including uncle John Hitchcock with his five-bedroom Victorian house on Campion Road in Putney, complete with a maid, cook, chauffeur, and gardener. Every summer, his uncle rented a seaside house for the family in Cliftonville. Hitchcock said that he first became class-conscious there, noticing the differences between tourists and locals.[15] Describing himself as a well-behaved boy — his father called him his "little lamb without a spot" — Hitchcock said he could not remember ever having had a playmate. One of his favourite stories for interviewers was about his father sending him to the local police station with a note when he was five; the policeman looked at the note and locked him in a cell for a few minutes, saying, "This is what we do to naughty boys." The experience left him with a lifelong phobia of law enforcement, and he told Tom Snyder in 1973 that he was "scared stiff of anything ... to do with the law" and that he would refuse to even drive a car in case he got a parking ticket.[18] When he was six, the family moved to Limehouse and leased two stores at 130 and 175 Salmon Lane, which they ran as a fish-and-chip shop and fishmongers' respectively; they lived above the former.[19] Hitchcock attended his first school, the Howrah House Convent in Poplar, which he entered in 1907, at age 7.[20] According to biographer Patrick McGilligan, he stayed at Howrah House for at most two years. He also attended a convent school, the Wode Street School "for the daughters of gentlemen and little boys" run by the Faithful Companions of Jesus. He then attended a primary school near his home and was for a short time a boarder at Salesian College in Battersea.[21] The family moved again when Hitchcock was eleven, this time to Stepney, and on 5 October 1910 he was sent to St Ignatius College in Stamford Hill, a Jesuit grammar school with a reputation for discipline.[22] As corporal punishment, the priests used a flat, hard, springy tool made of gutta-percha and known as a "ferula" which struck the whole palm; punishment was always at the end of the day, so the boys had to sit through classes anticipating the punishment if they had been written up for it. He later said that this is where he developed his sense of fear.[23] The school register lists his year of birth as 1900 rather than 1899; biographer Donald Spoto says he was deliberately enrolled as a ten-year-old because he was a year behind with his schooling. While biographer Gene Adair reports that Hitchcock was "an average, or slightly above-average, pupil", Hitchcock said that he was "usually among the four or five at the top of the class"; at the end of his first year, his work in Latin, English, French and religious education was noted.[27] He told Peter Bogdanovich: "The Jesuits taught me organisation, control and, to some degree, analysis." Hitchcock's favourite subject was geography and he became interested in maps and the timetables of trains, trams and buses; according to John Russell Taylor, he could recite all the stops on the Orient Express. He had a particular interest in London trams. An overwhelming majority of his films include rail or tram scenes, in particular The Lady Vanishes, Strangers on a Train and Number Seventeen. A clapperboard shows the number of the scene and the number of takes, and Hitchcock would often take the two numbers on the clapperboard and whisper the London tram route names. For example, if the clapperboard showed "Scene 23; Take 3", he would whisper "Woodford, Hampstead"—Woodford being the terminus of the route 23 tram, and Hampstead the end of route 3.[29][30] Henley's [edit] Hitchcock told his parents that he wanted to be an engineer, and on 25 July 1913,[31] he left St Ignatius and enrolled in night classes at the London County Council School of Engineering and Navigation in Poplar. In a book-length interview in 1962, he told François Truffaut that he had studied "mechanics, electricity, acoustics, and navigation". Then, on 12 December 1914, his father, who had been suffering from emphysema and kidney disease, died at the age of 52.[32] To support himself and his mother — his older siblings had left home by then — Hitchcock took a job, for 15 shillings a week (£91 in 2023),[33] as a technical clerk at the Henley Telegraph and Cable Company in Blomfield Street, near London Wall.[34] He continued night classes, this time in art history, painting, economics and political science.[35] His older brother ran the family shops, while he and his mother continued to live in Salmon Lane. Hitchcock was too young to enlist when the First World War started in July 1914, and when he reached the required age of 18 in 1917, he received a C3 classification ("free from serious organic disease, able to stand service conditions in garrisons at home ... only suitable for sedentary work").[37] He joined a cadet regiment of the Royal Engineers and took part in theoretical briefings, weekend drills and exercises. John Russell Taylor wrote that, in one session of practical exercises in Hyde Park, Hitchcock was required to wear puttees. He could never master wrapping them around his legs, and they repeatedly fell down around his ankles. After the war, Hitchcock took an interest in creative writing. In June 1919, he became a founding editor and business manager of Henley's in-house publication, The Henley Telegraph (sixpence a copy), to which he submitted several short stories.[d] Henley's promoted him to the advertising department, where he wrote copy and drew graphics for electric cable advertisements. He enjoyed the job and would stay late at the office to examine the proofs; he told Truffaut that this was his "first step toward cinema". He enjoyed watching films, especially American cinema, and from the age of 16 read the trade papers; he watched Charlie Chaplin, D. W. Griffith and Buster Keaton, and particularly liked Fritz Lang's Der müde Tod (1921). Inter-war career: 1919–1939 [edit] Famous Players–Lasky [edit] While still at Henley's, he read in a trade paper that Famous Players–Lasky, the production arm of Paramount Pictures, was opening a studio in London. They were planning to film The Sorrows of Satan by Marie Corelli, so he produced some drawings for the title cards and sent his work to the studio. They hired him, and in 1919 he began working for Islington Studios in Poole Street, Hoxton, as a title-card designer. Donald Spoto wrote that most of the staff were Americans with strict job specifications, but the English workers were encouraged to try their hand at anything, which meant that Hitchcock gained experience as a co-writer, art director and production manager on at least 18 silent films. The Times wrote in February 1922 about the studio's "special art title department under the supervision of Mr. A. J. Hitchcock".[51] His work included Number 13 (1922), also known as Mrs. Peabody; it was cancelled because of financial problems - the few finished scenes are lost — and Always Tell Your Wife (1923), which he and Seymour Hicks finished together when Hicks was about to give up on it. Hicks wrote later about being helped by "a fat youth who was in charge of the property room ... [n]one other than Alfred Hitchcock". Gainsborough Pictures and work in Germany [edit] When Paramount pulled out of London in 1922, Hitchcock was hired as an assistant director by a new firm run in the same location by Michael Balcon, later known as Gainsborough Pictures. Hitchcock worked on Woman to Woman (1923) with the director Graham Cutts, designing the set, writing the script and producing. He said: "It was the first film that I had really got my hands onto." The editor and "script girl" on Woman to Woman was Alma Reville, his future wife. He also worked as an assistant to Cutts on The White Shadow (1924), The Passionate Adventure (1924), The Blackguard (1925) and The Prude's Fall (1925). The Blackguard was produced at the Babelsberg Studios in Potsdam, where Hitchcock watched part of the making of F. W. Murnau's The Last Laugh (1924).[57] He was impressed with Murnau's work, and later used many of his techniques for the set design in his own productions. In the summer of 1925, Balcon asked Hitchcock to direct The Pleasure Garden (1925), starring Virginia Valli, a co-production of Gainsborough and the German firm Emelka at the Geiselgasteig studio near Munich. Reville, by then Hitchcock's fiancée, was assistant director-editor. Although the film was a commercial flop, Balcon liked Hitchcock's work; a Daily Express headline called him the "Young man with a master mind". Production of The Pleasure Garden encountered obstacles which Hitchcock would later learn from: on arrival to Brenner Pass, he failed to declare his film stock to customs and it was confiscated; one actress could not enter the water for a scene because she was on her period; budget overruns meant that he had to borrow money from the actors. Hitchcock also needed a translator to give instructions to the cast and crew. In Germany, Hitchcock observed the nuances of German cinema and filmmaking which had a big influence on him. When he was not working, he would visit Berlin's art galleries, concerts and museums. He would also meet with actors, writers and producers to build connections. Balcon asked him to direct a second film in Munich, The Mountain Eagle (1926), based on an original story titled Fear o' God.[65] The film is lost, and Hitchcock called it "a very bad movie". A year later, Hitchcock wrote and directed The Ring; although the screenplay was credited solely to his name, Elliot Stannard assisted him with the writing. The Ring garnered positive reviews; the Bioscope critic called it "the most magnificent British film ever made". When he returned to England, Hitchcock was one of the early members of the London Film Society, newly formed in 1925. Through the Society, he became fascinated by the work by Soviet filmmakers: Dziga Vertov, Lev Kuleshov, Sergei Eisenstein and Vsevolod Pudovkin. He would also socialise with fellow English filmmakers Ivor Montagu, Adrian Brunel and Walter Mycroft. Hitchcock established himself as a name director with his first thriller, The Lodger: A Story of the London Fog (1927).[72] The film concerns the hunt for a Jack the Ripper-style serial killer who, wearing a black cloak and carrying a black bag, is murdering young blonde women in London, and only on Tuesdays. A landlady suspects that her lodger is the killer, but he turns out to be innocent. Hitchcock had wanted the leading man to be guilty, or for the film at least to end ambiguously, but the star was Ivor Novello, a matinée idol, and the "star system" meant that Novello could not be the villain. Hitchcock told Truffaut: "You have to clearly spell it out in big letters: 'He is innocent.'" (He had the same problem years later with Cary Grant in Suspicion (1941).) Released in January 1927, The Lodger was a commercial and critical success in the UK.[77] Upon its release, the trade journal Bioscope wrote: "It is possible that this film is the finest British production ever made".[72] Hitchcock told Truffaut that the film was the first of his to be influenced by German Expressionism: "In truth, you might almost say that The Lodger was my first picture." He made his first cameo appearance in the film, sitting in a newsroom.[79] Marriage [edit] On 2 December 1926, Hitchcock married the English screenwriter Alma Reville at the Brompton Oratory in South Kensington. The couple honeymooned in Paris, Lake Como and St. Moritz, before returning to London to live in a leased flat on the top two floors of 153 Cromwell Road, Kensington. Reville, who was born just hours after Hitchcock, converted from Protestantism to Catholicism, apparently at the insistence of Hitchcock's mother; she was baptised on 31 May 1927 and confirmed at Westminster Cathedral by Cardinal Francis Bourne on 5 June.[84] In 1928, when they learned that Reville was pregnant, the Hitchcocks purchased "Winter's Grace", a Tudor farmhouse set in eleven acres on Stroud Lane, Shamley Green, Surrey, for £2,500.[85] Their daughter and only child, Patricia (Pat) Alma Hitchcock, was born on 7 July that year. Pat died on 9 August 2021 at the age of 93.[87] Reville became her husband's closest collaborator; Charles Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's."[88] When Hitchcock accepted the AFI Life Achievement Award in 1979, he said that he wanted to mention "four people who have given me the most affection, appreciation and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter, Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville."[89] Reville wrote or co-wrote on many of Hitchcock's films, including Shadow of a Doubt, Suspicion and The 39 Steps.[90] Early sound films [edit] Hitchcock began work on his tenth film, Blackmail (1929), when its production company, British International Pictures (BIP), converted its Elstree studios to sound. The film was the first British "talkie"; this followed the rapid development of sound films in the United States, from the use of brief sound segments in The Jazz Singer (1927) to the first full sound feature Lights of New York (1928).[4] Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences, with the climax taking place on the dome of the British Museum.[91] It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground. In the PBS series The Men Who Made The Movies, Hitchcock explained how he used early sound recording as a special element of the film to create tension, with a gossipy woman (Phyllis Monkman) stressing the word "knife" in her conversation with the woman suspected of murder.[93] During this period, Hitchcock directed segments for a BIP revue, Elstree Calling (1930), and directed a short film, An Elastic Affair (1930), featuring two Film Weekly scholarship winners. An Elastic Affair is one of the lost films.[95] In 1933, Hitchcock signed a multi-film contract with Gaumont-British, once again working for Michael Balcon. His first film for the company, The Man Who Knew Too Much (1934), was a success; his second, The 39 Steps (1935), was acclaimed in the UK, and gained him recognition in the US. It also established the quintessential English "Hitchcock blonde" (Madeleine Carroll) as the template for his succession of ice-cold, elegant leading ladies.[98] Screenwriter Robert Towne remarked: "It's not much of an exaggeration to say that all contemporary escapist entertainment begins with The 39 Steps".[99] John Buchan, author of The Thirty-Nine Steps on which the film is loosely based, met with Hitchcock on set, and attended the high-profile premiere at the New Gallery Cinema in London. Upon viewing the film, the author said it had improved on the book.[98] This film was one of the first to introduce the "MacGuffin" plot device, a term coined by the English screenwriter and Hitchcock collaborator Angus MacPhail.[100] The MacGuffin is an item or goal the protagonist is pursuing, one that otherwise has no narrative value; in The 39 Steps, the MacGuffin is a stolen set of design plans.[101] Hitchcock released two spy thrillers in 1936. Sabotage was loosely based on Joseph Conrad's novel, The Secret Agent (1907), about a woman who discovers that her husband is a terrorist, and Secret Agent, based on two stories in Ashenden: Or the British Agent (1928) by W. Somerset Maugham.[e] At this time, Hitchcock also became notorious for pranks against the cast and crew. These jokes ranged from simple and innocent to crazy and maniacal. For instance, he hosted a dinner party where he dyed all the food blue because he claimed there weren't enough blue foods. He also had a horse delivered to the dressing room of his friend, actor Gerald du Maurier.[102] Hitchcock followed up with Young and Innocent in 1937, a crime thriller based on the 1936 novel A Shilling for Candles by Josephine Tey. Starring Nova Pilbeam and Derrick De Marney, the film was relatively enjoyable for the cast and crew to make. To meet distribution purposes in America, the film's runtime was cut and this included removal of one of Hitchcock's favourite scenes: a children's tea party which becomes menacing to the protagonists. Hitchcock's next major success was The Lady Vanishes (1938), "one of the greatest train movies from the genre's golden era", according to Philip French, in which Miss Froy (May Whitty), a British spy posing as a governess, disappears on a train journey through the fictional European country of Bandrika.[105] The film saw Hitchcock receive the 1938 New York Film Critics Circle Award for Best Director.[106] Benjamin Crisler of The New York Times wrote in June 1938: "Three unique and valuable institutions the British have that we in America have not: Magna Carta, the Tower Bridge and Alfred Hitchcock, the greatest director of screen melodramas in the world."[107] The film was based on the novel The Wheel Spins (1936) written by Ethel Lina White, and starred Michael Redgrave (in his film debut) and Margaret Lockwood.[108][109] By 1938, Hitchcock was aware that he had reached his peak in Britain. He had received numerous offers from producers in the United States, but he turned them all down because he disliked the contractual obligations or thought the projects were repellent. However, producer David O. Selznick offered him a concrete proposal to make a film based on the sinking of RMS Titanic, which was eventually shelved, but Selznick persuaded Hitchcock to come to Hollywood. In July 1938, Hitchcock flew to New York, and found that he was already a celebrity; he was featured in magazines and gave interviews to radio stations. In Hollywood, Hitchcock met Selznick for the first time. Selznick offered him a four-film contract, approximately $40,000 for each picture (equivalent to $870,000 in 2023). Early Hollywood years: 1939–1945 [edit] Selznick contract [edit] Selznick signed Hitchcock to a seven-year contract beginning in April 1939, and the Hitchcocks moved to Hollywood.[114] The Hitchcocks lived in a spacious flat on Wilshire Boulevard, and slowly acclimatised themselves to the Los Angeles area. He and his wife Alma kept a low profile, and were not interested in attending parties or being celebrities. Hitchcock discovered his taste for fine food in West Hollywood, but still carried on his way of life from England. He was impressed with Hollywood's filmmaking culture, expansive budgets and efficiency, compared to the limits that he had often faced in Britain.[117] In June that year, Life called him the "greatest master of melodrama in screen history".[118] Although Hitchcock and Selznick respected each other, their working arrangements were sometimes difficult. Selznick suffered from constant financial problems, and Hitchcock was often unhappy about Selznick's creative control and interference over his films. Selznick was also displeased with Hitchcock's method of shooting just what was in the script, and nothing more, which meant that the film could not be cut and remade differently at a later time. As well as complaining about Hitchcock's "goddamn jigsaw cutting",[120] their personalities were mismatched: Hitchcock was reserved whereas Selznick was flamboyant.[121] Eventually, Selznick generously lent Hitchcock to the larger film studios. Selznick made only a few films each year, as did fellow independent producer Samuel Goldwyn, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. In a later interview, Hitchcock said: "[Selznick] was the Big Producer. ... Producer was king. The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the 'only director' he'd 'trust with a film'."[123] Hitchcock approached American cinema cautiously; his first American film was set in England in which the "Americanness" of the characters was incidental: Rebecca (1940) was set in a Hollywood version of England's Cornwall and based on a novel by English novelist Daphne du Maurier. Selznick insisted on a faithful adaptation of the book, and disagreed with Hitchcock with the use of humour. The film, starring Laurence Olivier and Joan Fontaine, concerns an unnamed naïve young woman who marries a widowed aristocrat. She lives in his large English country house, and struggles with the lingering reputation of his elegant and worldly first wife Rebecca, who died under mysterious circumstances. The film won Best Picture at the 13th Academy Awards; the statuette was given to producer Selznick. Hitchcock received his first nomination for Best Director, his first of five such nominations.[5][127] Hitchcock's second American film was the thriller Foreign Correspondent (1940), set in Europe, based on Vincent Sheean's book Personal History (1935) and produced by Walter Wanger. It was nominated for Best Picture that year. Hitchcock felt uneasy living and working in Hollywood while Britain was at war; his concern resulted in a film that overtly supported the British war effort.[128] Filmed in 1939, it was inspired by the rapidly changing events in Europe, as covered by an American newspaper reporter played by Joel McCrea. By mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism, Nazi Germany and Germans, to comply with the Motion Picture Production Code at the time.[129][failed verification] Early war years [edit] In September 1940, the Hitchcocks bought the 200-acre (0.81 km2) Cornwall Ranch near Scotts Valley, California, in the Santa Cruz Mountains.[130] Their primary residence was an English-style home in Bel Air, purchased in 1942.[131] Hitchcock's films were diverse during this period, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the bleak film noir Shadow of a Doubt (1943). Suspicion (1941) marked Hitchcock's first film as a producer and director. It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four in which Cary Grant was cast by Hitchcock, and it is one of the rare occasions that Grant plays a sinister character. Grant plays Johnnie Aysgarth, an English conman whose actions raise suspicion and anxiety in his shy young English wife, Lina McLaidlaw (Joan Fontaine). In one scene, Hitchcock placed a light inside a glass of milk, perhaps poisoned, that Grant is bringing to his wife; the light ensures that the audience's attention is on the glass. Grant's character is actually a killer, according to the book, Before the Fact by Francis Iles, but the studio felt that Grant's image would be tarnished by that. Hitchcock would have preferred to end with the wife's murder.[f] Instead, the actions that she found suspicious are a reflection of his own despair and his plan to commit suicide. Fontaine won Best Actress for her performance.[135] Saboteur (1942) is the first of two films that Hitchcock made for Universal Studios during the decade. Hitchcock wanted Gary Cooper and Barbara Stanwyck or Henry Fonda and Gene Tierney to star, but was forced by Universal to use Universal contract player Robert Cummings and Priscilla Lane, a freelancer who signed a one-picture deal with the studio, both known for their work in comedies and light dramas.[136] The story depicts a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. Hitchcock took a three-day tour of New York City to scout for Saboteur's filming locations. He also directed Have You Heard? (1942), a photographic dramatisation for Life magazine of the dangers of rumours during wartime.[138] In 1943, he wrote a mystery story for Look, "The Murder of Monty Woolley", a sequence of captioned photographs inviting the reader to find clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce.[citation needed] Back in England, Hitchcock's mother Emma was severely ill; she died on 26 September 1942 at age 79. Hitchcock never spoke publicly about his mother, but his assistant said that he admired her. Four months later, on 4 January 1943, his brother William died of an overdose at age 52. Hitchcock was not very close to William, but his death made Hitchcock conscious about his own eating and drinking habits. He was overweight and suffering from back aches. His New Year's resolution in 1943 was to take his diet seriously with the help of a physician. In January that year, Shadow of a Doubt was released, which Hitchcock had fond memories of making. In the film, Charlotte "Charlie" Newton (Teresa Wright) suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial killer. Hitchcock filmed extensively on location, this time in the Northern California city of Santa Rosa.[145] At 20th Century Fox, Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become Lifeboat (1944). However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in Collier's in 1943. The action sequences were shot in a small boat in the studio water tank. The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". He told Truffaut in 1962: At the time, I was on a strenuous diet, painfully working my way from three hundred to two hundred pounds. So I decided to immortalize my loss and get my bit part by posing for "before" and "after" pictures. ... I was literally submerged by letters from fat people who wanted to know where and how they could get Reduco. Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years. At the end of 1943, despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance. Wartime non-fiction films [edit] I felt the need to make a little contribution to the war effort, and I was both overweight and over-age for military service. I knew that if I did nothing, I'd regret it for the rest of my life — Alfred Hitchcock (1967) Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short propaganda films, Bon Voyage (1944) and Aventure Malgache (1944), for the Ministry of Information. In June and July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock (a friend of his) on board. It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was broadcast as an episode of PBS Frontline, under the title the Imperial War Museum had given it: Memory of the Camps. The full-length version of the film, German Concentration Camps Factual Survey, was restored in 2014 by scholars at the Imperial War Museum.[149][150][151] Post-war Hollywood years: 1945–1953 [edit] Later Selznick films [edit] Hitchcock worked for David Selznick again when he directed Spellbound (1945), which explores psychoanalysis and features a dream sequence designed by Salvador Dalí.[152] The dream sequence as it appears in the film is ten minutes shorter than was originally envisioned; Selznick edited it to make it "play" more effectively.[153] Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. The original musical score by Miklós Rózsa makes use of the theremin, and some of it was later adapted by the composer into Rozsa's Piano Concerto Op. 31 (1967) for piano and orchestra.[155][failed verification] The spy film Notorious followed next in 1946. Hitchcock told François Truffaut that Selznick sold him, Ingrid Bergman, Cary Grant and Ben Hecht's screenplay, to RKO Radio Pictures as a "package" for $500,000 (equivalent to $7.8 million in 2023) because of cost overruns on Selznick's Duel in the Sun (1946).[citation needed] Notorious stars Bergman and Grant, both Hitchcock collaborators, and features a plot about Nazis, uranium and South America. His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. According to Patrick McGilligan, in or around March 1945, Hitchcock and Hecht consulted Robert Millikan of the California Institute of Technology about the development of a uranium bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945. Transatlantic Pictures [edit] Hitchcock formed an independent production company, Transatlantic Pictures, with his friend Sidney Bernstein. He made two films with Transatlantic, one of which was his first colour film. With Rope (1948), Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat. The film appears as a very limited number of continuous shots, but it was actually shot in 10 ranging from 4+1⁄2 to 10 minutes each; a 10-minute length of film was the most that a camera's film magazine could hold at the time. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the 1920s. Critical response at the time was mixed. Under Capricorn (1949), set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. Hitchcock filmed Stage Fright (1950) at Elstree Studios in England, where he had worked during his British International Pictures contract many years before.[162] He paired one of Warner Bros.' most popular stars, Jane Wyman, with the expatriate German actor Marlene Dietrich and used several prominent British actors, including Michael Wilding, Richard Todd and Alastair Sim.[163] This was Hitchcock's first proper production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.[164] His thriller Strangers on a Train (1951) was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director. In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain.[165] I Confess (1953) was set in Quebec with Montgomery Clift as a Catholic priest.[166] Peak years: 1954–1964 [edit] Dial M for Murder and Rear Window [edit] I Confess was followed by three colour films starring Grace Kelly: Dial M for Murder (1954), Rear Window (1954) and To Catch a Thief (1955). In Dial M for Murder, Ray Milland plays the villain who tries to murder his unfaithful wife (Kelly) for her money. She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams) save her from execution.[167] Hitchcock experimented with 3D cinematography for Dial M for Murder.[168] Hitchcock moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Grace Kelly, as well as Thelma Ritter and Raymond Burr. Stewart's character is a photographer named Jeff (based on Robert Capa) who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them (Raymond Burr) has murdered his wife. Jeff eventually manages to convince his policeman buddy (Wendell Corey) and his girlfriend (Kelly). As with Lifeboat and Rope, the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".[169] Alfred Hitchcock Presents [edit] From 1955 to 1965, Hitchcock was the host of the television series Alfred Hitchcock Presents.[170] With his droll delivery, gallows humour and iconic image, the series made Hitchcock a celebrity. The title-sequence of the show pictured a minimalist caricature of his profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled.[171] The series theme tune was Funeral March of a Marionette by the French composer Charles Gounod (1818–1893).[172] His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are shown with a sign "Two chairs—no waiting!" He directed 18 episodes of the series, which aired from 1955 to 1965. It became The Alfred Hitchcock Hour in 1962, and NBC broadcast the final episode on 10 May 1965. In the 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.[170] Hitchcock's success in television spawned a set of short-story collections in his name; these included Alfred Hitchcock's Anthology, Stories They Wouldn't Let Me Do on TV, and Tales My Mother Never Told Me. In 1956, HSD Publications also licensed the director's name to create Alfred Hitchcock's Mystery Magazine, a monthly digest specialising in crime and detective fiction. Hitchcock's television series were very profitable, and his foreign-language versions of books were bringing revenues of up to $100,000 a year (equivalent to $1,030,000 in 2023). From To Catch a Thief to Vertigo [edit] In 1955, Hitchcock became a United States citizen.[175] In the same year, his third Grace Kelly film, To Catch a Thief, was released; it is set in the French Riviera, and stars Kelly and Cary Grant. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double entendres) and the good-natured acting proved a commercial success."[176] It was Hitchcock's last film with Kelly; she married Prince Rainier of Monaco in 1956, and ended her film career afterward. Hitchcock then remade his own 1934 film The Man Who Knew Too Much in 1956. This time, the film starred James Stewart and Doris Day, who sang the theme song "Que Sera, Sera", which won the Academy Award for Best Original Song and became a big hit. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the 1934 film, the climax takes place at the Royal Albert Hall.[177] The Wrong Man (1956), Hitchcock's final film for Warner Bros., is a low-key black-and-white production based on a real-life case of mistaken identity reported in Life magazine in 1953. This was the only film of Hitchcock to star Henry Fonda, playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife (Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.[178] While directing episodes for Alfred Hitchcock Presents during the summer of 1957, Hitchcock was admitted to hospital for hernia and gallstones, and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project. Vertigo (1958) again starred James Stewart, with Kim Novak and Barbara Bel Geddes. He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children." In Vertigo, Stewart plays Scottie, a former police investigator suffering from acrophobia, who becomes obsessed with a woman he has been hired to shadow (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert, agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion-like obsessions of a man who moulds a woman into the person he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography.[181] Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom, which has been copied by many filmmakers. The film premiered at the San Sebastián International Film Festival, and Hitchcock won the Silver Seashell prize.[182] Vertigo is considered a classic, but it attracted mixed reviews and poor box-office receipts at the time;[183] the critic from Variety opined that the film was "too slow and too long".[184] Bosley Crowther of the New York Times thought it was "devilishly far-fetched", but praised the cast performances and Hitchcock's direction.[185] The picture was also the last collaboration between Stewart and Hitchcock.[186] In the 2002 Sight & Sound polls, it ranked just behind Citizen Kane (1941); ten years later, in the same magazine, critics chose it as the best film ever made.[7] North by Northwest and Psycho [edit] See also: Psycho (franchise) After Vertigo, the rest of 1958 was a difficult year for Hitchcock. During pre-production of North by Northwest (1959), which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. While she was in hospital, Hitchcock kept himself occupied with his television work and would visit her every day. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her. Hitchcock followed up with three more successful films, which are also recognised as among his best: North by Northwest, Psycho (1960) and The Birds (1963). In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is pursued across the United States by enemy agents, including Eve Kendall (Eva Marie Saint). At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. During its opening two-week run at Radio City Music Hall, the film grossed $404,056 (equivalent to $4.2 million in 2023), setting a non-holiday gross record for that theatre.[188] Time magazine called the film "smoothly troweled and thoroughly entertaining".[189] Psycho (1960) is arguably Hitchcock's best-known film.[190] Based on Robert Bloch's 1959 novel Psycho, which was inspired by the case of Ed Gein,[191] the film was produced on a tight budget of $800,000 (equivalent to $8.2 million in 2023) and shot in black-and-white on a spare set using crew members from Alfred Hitchcock Presents.[192] The unprecedented violence of the shower scene,[h] the early death of the heroine, and the innocent lives extinguished by a disturbed murderer became the hallmarks of a new horror-film genre.[194] The film proved popular with audiences, with lines stretching outside theatres as viewers waited for the next showing. It broke box-office records in the United Kingdom, France, South America, the United States and Canada, and was a moderate success in Australia for a brief period.[195][page needed] Psycho was the most profitable of Hitchcock's career, and he personally earned in excess of $15 million (equivalent to $150 million in 2023). He subsequently swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference.[195][page needed] Following the first film, Psycho became an American horror franchise: Psycho II, Psycho III, Bates Motel, Psycho IV: The Beginning and a colour 1998 remake of the original. Truffaut interview [edit] Further information: Hitchcock/Truffaut and Hitchcock/Truffaut (film) On 13 August 1962, Hitchcock's 63rd birthday, the French director François Truffaut began a 50-hour interview of Hitchcock, filmed over eight days at Universal Studios, during which Hitchcock agreed to answer 500 questions. It took four years to transcribe the tapes and organise the images; it was published as a book in 1967, which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in 2015.[199] Truffaut sought the interview because it was clear to him that Hitchcock was not simply the mass-market entertainer the American media made him out to be. It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues". He compared the interview to "Oedipus' consultation of the oracle". The Birds [edit] The film scholar Peter William Evans wrote that The Birds (1963) and Marnie (1964) are regarded as "undisputed masterpieces". Hitchcock had intended to film Marnie first, and in March 1962 it was announced that Grace Kelly, Princess Grace of Monaco since 1956, would come out of retirement to star in it.[201] When Kelly asked Hitchcock to postpone Marnie until 1963 or 1964, he recruited Evan Hunter, author of The Blackboard Jungle (1954), to develop a screenplay based on a Daphne du Maurier short story, "The Birds" (1952), which Hitchcock had republished in his My Favorites in Suspense (1959). He hired Tippi Hedren to play the lead role.[202] It was her first role; she had been a model in New York when Hitchcock saw her, in October 1961, in an NBC television advert for Sego, a diet drink: "I signed her because she is a classic beauty. Movies don't have them any more. Grace Kelly was the last." He insisted, without explanation, that her first name be written in single quotation marks: 'Tippi'.[i] In The Birds, Melanie Daniels, a young socialite, meets lawyer Mitch Brenner (Rod Taylor) in a bird shop; Jessica Tandy plays his possessive mother. Hedren visits him in Bodega Bay (where The Birds was filmed)[204] carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?" is left unanswered. Hitchcock made the film with equipment from the Revue Studio, which made Alfred Hitchcock Presents. He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance.[204] An HBO/BBC television film, The Girl (2012), depicted Hedren's experiences on set; she said that Hitchcock became obsessed with her and sexually harassed her. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed and had a ramp built from his private office directly into her trailer.[207][208] Diane Baker, her co-star in Marnie, said: "[N]othing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was." While filming the attack scene in the attic — which took a week to film — she was placed in a caged room while two men wearing elbow-length protective gloves threw live birds at her. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. Marnie [edit] In June 1962, Grace Kelly announced that she had decided against appearing in Marnie (1964). Hedren had signed an exclusive seven-year, $500-a-week contract with Hitchcock in October 1961,[211] and he decided to cast her in the lead role opposite Sean Connery. In 2016, describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art."[212] A 1964 New York Times review called it Hitchcock's "most disappointing film in years", citing Hedren's and Connery's lack of experience, an amateurish script and "glaringly fake cardboard backdrops".[213] In the film, Marnie Edgar (Hedren) steals $10,000 from her employer and goes on the run. She applies for a job at Mark Rutland's (Connery) company in Philadelphia and steals from there too. Earlier, she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm — the mother believed the client had tried to molest Marnie — Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark.[212][214] Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face. Evan Hunter, the screenwriter of The Birds who was writing Marnie too, explained to Hitchcock that, if Mark loved Marnie, he would comfort her, not rape her. Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face!"[216] When Hunter submitted two versions of the script, one without the rape scene, Hitchcock replaced him with Jay Presson Allen. Later years: 1966–1980 [edit] Final films [edit] Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain (1966) and Topaz (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War-related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann.[219] Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, Torn Curtain was a box office disappointment, and Topaz was disliked by both critics and the studio. Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites, as in Strangers on a Train.[223] In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet, Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".[225] Family Plot (1976) was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot.[226] Knighthood and death [edit] Toward the end of his life, Hitchcock was working on the script for a spy thriller, The Short Night, collaborating with James Costigan, Ernest Lehman and David Freeman. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. The screenplay was eventually published in Freeman's book The Last Days of Alfred Hitchcock (1999).[227] Having refused a CBE in 1962,[228] Hitchcock was appointed a Knight Commander of the Most Excellent Order of the British Empire (KBE) in the 1980 New Year Honours.[10][229] He was too ill to travel to London—he had a pacemaker and was being given cortisone injections for his arthritis—so on 3 January 1980 the British consul general presented him with the papers at Universal Studios. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness." Cary Grant, Janet Leigh and others attended a luncheon afterwards.[230][231] His last public appearance was on 16 March 1980, when he introduced the next year's winner of the American Film Institute award.[230] He died of kidney failure the following month, on 29 April, in his Bel Air home.[131][232] Donald Spoto, one of Hitchcock's biographers, wrote that Hitchcock had declined to see a priest,[233] but according to Jesuit priest Mark Henninger, he and another priest, Tom Sullivan, celebrated Mass at the filmmaker's home, and Sullivan heard his confession.[234] Hitchcock was survived by his wife and daughter. His funeral was held at Good Shepherd Catholic Church in Beverly Hills on 30 April, after which his body was cremated. His remains were scattered over the Pacific Ocean on 10 May 1980.[235] Filmmaking [edit] Style and themes [edit] The "Hitchcockian" style includes the use of editing and camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear. The film critic Robin Wood wrote that the meaning of a Hitchcock film "is there in the method, in the progression from shot to shot. A Hitchcock film is an organism, with the whole implied in every detail and every detail related to the whole." Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Hitchcock remarked that he was influenced by early filmmakers George Méliès, D.W. Griffith and Alice Guy-Blaché.[237] His silent films between 1925 and 1929 were in the crime and suspense genres, but also included melodramas and comedies. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema; he referred to this emphasis on visual storytelling as "pure cinema".[238] In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques. Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised". Scholar Robin Wood writes that the director's first two films, The Pleasure Garden and The Mountain Eagle, were influenced by German Expressionism. Afterward, he discovered Soviet cinema, and Sergei Eisenstein's and Vsevolod Pudovkin's theories of montage. 1926's The Lodger was inspired by both German and Soviet aesthetics, styles which solidified the rest of his career. Although Hitchcock's work in the 1920s found some success, several British reviewers criticised Hitchcock's films for being unoriginal and conceited. Raymond Durgnat opined that Hitchcock's films were carefully and intelligently constructed, but thought they can be shallow and rarely present a "coherent worldview". Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. He said, "My suspense work comes out of creating nightmares for the audience. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved."[243] During filming of North by Northwest, Hitchcock explained his reasons for recreating the set of Mount Rushmore: "The audience responds in proportion to how realistic you make it. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen."[243] In a 1963 interview with Italian journalist Oriana Fallaci, Hitchcock was asked how in spite of appearing to be a pleasant, innocuous man, he seemed to enjoy making films involving suspense and terrifying crime. He responded: I'm English. The English use a lot of imagination with their crimes. I don't get such a kick out of anything as much as out of imagining a crime. When I'm writing a story and I come to a crime, I think happily: now wouldn't it be nice to have him die like this? And then, even more happily, I think: at this point people will start yelling. It must be because I spent three years studying with the Jesuits. They used to terrify me to death, with everything, and now I'm getting my own back by terrifying other people. Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for. His films explored audience as a voyeur, notably in Rear Window, Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. Of his fifty-three films, eleven revolved around stories of mistaken identity, where an innocent protagonist is accused of a crime and is pursued by police. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. Hitchcock told Truffaut: "That's because the theme of the innocent man being accused, I feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run." One of his constant themes was the struggle of a personality torn between "order and chaos"; known as the notion of "double", which is a comparison or contrast between two characters or objects: the double representing a dark or evil side. According to Robin Wood, Hitchcock retained a feeling of ambivalence towards homosexuality, despite working with gay actors throughout his career. Donald Spoto suggests that Hitchcock's sexually repressive childhood may have contributed to his exploration of deviancy. During the 1950s, the Motion Picture Production Code prohibited direct references to homosexuality but the director was known for his subtle references,[249] and pushing the boundaries of the censors. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Author Jane Sloan argues that Hitchcock was drawn to both conventional and unconventional sexual expression in his work, and the theme of marriage was usually presented in a "bleak and skeptical" manner. It was also not until after his mother's death in 1942, that Hitchcock portrayed motherly figures as "notorious monster-mothers". The espionage backdrop, and murders committed by characters with psychopathic tendencies were common themes too. In Hitchcock's depiction of villains and murderers, they were usually charming and friendly, forcing viewers to identify with them. The director's strict childhood and Jesuit education may have led to his distrust of authority figures such as policemen and politicians; a theme which he has explored. Also, he used the "MacGuffin"—the use of an object, person or event to keep the plot moving along even if it was non-essential to the story. Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), walking dogs out of a pet shop (The Birds), fixing a neighbour's clock (Rear Window), as a shadow (Family Plot), sitting at a table in a photograph (Dial M for Murder), and riding a bus (North by Northwest, To Catch a Thief). Representation of women [edit] Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in 2010: "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end."[256] In a widely cited essay in 1975, Laura Mulvey introduced the idea of the male gaze; the view of the spectator in Hitchcock's films, she argued, is that of the heterosexual male protagonist. "The female characters in his films reflected the same qualities over and over again", Roger Ebert wrote in 1996: "They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated."[258][j] Hitchcock's films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest, Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds, the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflicting relationship with his mother, who is (rightly) suspicious of his new bride, Alicia Huberman (Ingrid Bergman).[260] Relationship with actors [edit] I told her that my idea of a good actor or good actress is someone who can do nothing very well. ... I said, "That's one of the things you've got to learn to have ... authority." Out of authority comes control and out of control you get the range ... Whether you do little acting, a lot of acting in a given scene. You know exactly where you're going. And these were the first things that she had to know. Emotion comes later and the control of the voice comes later. But, within herself, she had to learn authority first and foremost because out of authority comes timing. — Alfred Hitchcock (1967) Hitchcock became known for having remarked that "actors should be treated like cattle".[k] During the filming of Mr. & Mrs. Smith (1941), Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise him. In an episode of The Dick Cavett Show, originally broadcast on 8 June 1972, Dick Cavett stated as fact that Hitchcock had once called actors cattle. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. "I said that I would never say such an unfeeling, rude thing about actors at all. What I probably said, was that all actors should be treated like cattle...In a nice way of course." He then described Carole Lombard's joke, with a smile.[263] Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in 1967: "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.' I said, 'That's not acting. That's writing.'"[134] Recalling their experiences on Lifeboat for Charles Chandler, author of It's Only a Movie: Alfred Hitchcock A Personal Biography, Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming Lifeboat.[264] Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times,[265] and Ingrid Bergman and Grace Kelly three. James Mason said that Hitchcock regarded actors as "animated props".[266] For Hitchcock, the actors were part of the film's setting. He told François Truffaut: "The chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights."[267] Writing, storyboards and production [edit] Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock (2001), Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually.[268] Hitchcock told Roger Ebert in 1969: Once the screenplay is finished, I'd just as soon not make the film at all. All the fun is over. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score. It's melancholy to shoot a picture. When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception.[269] Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder, since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider.[270] This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du Cinéma, in his book Hitchcock at Work. After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned.[271] He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his films, was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail.[272][verification needed] Even when storyboards were made, scenes that were shot differed from them significantly. Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his films, he was fully cognisant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines used during many other film productions.[272][verification needed] Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternative takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how they chose (often under the producer's aegis).[273][failed verification] Rather they represented Hitchcock's tendency to give himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock. Both his fastidiousness and attention to detail also found their way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold[274] and Saul Bass—who would produce posters that accurately represented his films.[272] Legacy [edit] Awards and honours [edit] Hitchcock was inducted into the Hollywood Walk of Fame on 8 February 1960 with two stars: one for television and a second for motion pictures.[275] In 1978, John Russell Taylor described him as "the most universally recognizable person in the world" and "a straightforward middle-class Englishman who just happened to be an artistic genius".[231] In 2002, MovieMaker named him the most influential director of all time,[276] and a 2007 The Daily Telegraph critics' poll ranked him Britain's greatest director.[277] David Gritten, the newspaper's film critic, wrote: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."[278] In 1992, the Sight & Sound Critics' Poll ranked Hitchcock at No. 4 in its list of "Top 10 Directors" of all time.[279] In 2002, Hitchcock was ranked second in the critics' top ten poll[280] and fifth in the directors' top ten poll[281] in the list of "The Greatest Directors of All Time" compiled by Sight & Sound. Hitchcock was voted the "Greatest Director of 20th Century" in a poll conducted by Japanese film magazine kinema Junpo. In 1996, Entertainment Weekly ranked Hitchcock at No. 1 in its "50 Greatest Directors" list.[282][283] Hitchcock was ranked at No. 2 on Empire's "Top 40 Greatest Directors of All-Time" list in 2005.[282] In 2007, Total Film ranked Hitchcock at No. 1 on its "100 Greatest Film Directors Ever" list.[284] He won two Golden Globes, eight Laurel Awards, and five lifetime achievement awards, including the first BAFTA Academy Fellowship Award in 1971,[285] and, in 1979, an AFI Life Achievement Award.[10] He was nominated five times for an Academy Award for Best Director. Rebecca, nominated for eleven Oscars, won the Academy Award for Best Picture of 1940; another Hitchcock film, Foreign Correspondent, was also nominated that year.[286] By 2021, nine of his films had been selected for preservation by the US National Film Registry: Rebecca (1940; inducted 2018), Shadow of a Doubt (1943; inducted 1991), Notorious (1946; inducted 2006), Strangers on a Train (1951; inducted 2021), Rear Window (1954; inducted 1997), Vertigo (1958; inducted 1989), North by Northwest (1959; inducted 1995), Psycho (1960; inducted 1992) and The Birds (1963; inducted 2016).[8] In 2001, a series of 17 mosaics of Hitchcock's life and work, which are located in Leytonstone tube station in the London Underground, was commissioned by the London Borough of Waltham Forest.[287] In 2012, Hitchcock was selected by artist Sir Peter Blake, author of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, to appear in a new version of the cover, along with other British cultural figures, and he was featured that year in a BBC Radio 4 series, The New Elizabethans, as someone "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character".[288] In June 2013 nine restored versions of Hitchcock's early silent films, including The Pleasure Garden (1925), were shown at the Brooklyn Academy of Music's Harvey Theatre; known as "The Hitchcock 9", the travelling tribute was organised by the British Film Institute.[289] Archives [edit] The Alfred Hitchcock Collection is housed at the Academy Film Archive in Hollywood, California. It includes home movies, 16mm film shot on the set of Blackmail (1929) and Frenzy (1972), and the earliest known colour footage of Hitchcock. The Academy Film Archive has preserved many of his home movies.[290] In 1984, Pat Hitchcock donated her father's papers to the Academy's Margaret Herrick Library.[291][292] The David O. Selznick and the Ernest Lehman collections housed at the Harry Ransom Humanities Research Center in Austin, Texas, contain material related to Hitchcock's work on the production of The Paradine Case, Rebecca, Spellbound, North by Northwest and Family Plot.[293] Hitchcock portrayals [edit] Anthony Hopkins in Hitchcock (2012) Toby Jones in The Girl (2012) Roger Ashton-Griffiths in Grace of Monaco (2014) EpicLLOYD in the YouTube comedy series Epic Rap Battles of History (2014) Filmography [edit] Films [edit] Main article: Alfred Hitchcock filmography Silent films Sound films See also [edit] Alfred Hitchcock's unrealized projects List of cameo appearances by Alfred Hitchcock List of film director and actor collaborations Remakes of films by Alfred Hitchcock Notes and sources [edit] Notes [edit] References [edit] Works cited [edit] Biographies (chronological) Miscellaneous Further reading [edit] Articles [edit] Hitchcock's Style – BFI Screenonline Alfred Hitchcock: England's Biggest and Best Director Goes to Hollywood – Life, 20 November 1939, p. 33-43 Alfred Hitchcock Now Says Actors Are Children, Not Cattle – Boston Globe, 1 June 1958, p. A-11 'Twas Alfred Hitchcock Week in London – Variety, 17 August 1966, p. 16 Books [edit]
6282	dbpedia	0	56	https://www.academia.edu/77251086/Chiller_dillers_for_the_shiver_and_shudder_set_The_Whistler_film_series	en	Chiller-dillers for the shiver-and-shudder set: The Whistler film series	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/84683613/mini_magick20220422-19231-1vaivd9.png?1650640336", "https://0.academia-photos.com/1422635/147058249/136606053/s65_frank.krutnik.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "frank krutnik", "sussex.academia.edu" ]	2022-04-22T00:00:00	This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio program The Whistler. It examines how this anthology series developed within Columbia’s ongoing strategy of				https://www.academia.edu/77251086/Chiller_dillers_for_the_shiver_and_shudder_set_The_Whistler_film_series	This article consists of an analysis of the film work and career of director Rowland Brown, one of the first (if not the first) director-screenwriters in Hollywood. Brown pursued his career during Hollywood’s pre-Code era, but only directed three idiosyncratic films, all of which were linked to the gangster genre: Quick Millions (1931), Hell’s Highway (1932) and Blood Money (1933). There are many factors which explain why he was ousted from Hollywood and not allowed to direct again, one of which is the highly transgressive and critical nature of the discourse found in his cinema. Despite the uniqueness and originality of his film work, today he is an all but forgotten figure, only acknowledged by a prestigious group of film historians. His cinema has yet to be studied in depth. The ultimate purpose of this article is to contribute towards redressing this omission in the History of Film. KEY WORDS: Rowland Brown–Classical Hollywood cinema–Pre-Code period (1930–1934)¬–Quick Millions (1931)–Hell’s Highway (1932)–Blood Money (1933)–gangster genre From classic films such as "Casablanca" to anti-Nazi films, comedy, and film noir, American cinema in the 1930s and 1940s was a tool of political engagement and creative expression. German-speaking directors, actors, writers, and composers who fled Nazi Europe and found refuge in America helped to pioneer this Golden Age of Hollywood. Published to accompany a major traveling exhibition, "Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950" explores the contributions of these visionary émigrés during these difficult times, when democratic ideals were fervently debated and defended. "Light & Noir" is inspired by the twin genres of comedy and film noir, illuminating both the hopes and challenges of adjusting to a new culture in the midst of a world in upheaval. The catalogue features an essay that connects the exhibition narrative with a broader history of émigrés in Hollywood, followed by highlights from the exhibition and poignant recollections by descendants of these luminaries in American moviemaking. Martin Halliwell refers to the fifties as a “period of puzzling paradoxes” that is often remembered through a mix of “myths and nostalgia,” however, I would argue that the fifties were consumed by the dialectic of their own myths and the stark reality of a changing world. The hero of 1950s American Western films embodies the hopes and dreams of a culture experiencing existential challenges and social evolution. The heroic character displays the internal complexities that society grapples with as well as exploring social commentary. As a window into the morality of the 1950s culture, the Western is a useful tool that enables examination into the dynamics of society during this formative and mythic time period. Chapter 12 of Recovering 1940s Horror Cinema- Traces of a Lost Decade edited by Mario Degiglio-Bellemare; Charlie Ellbé And Kristopher WoofterThe 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a “classical” period or “canonical” mode of horror in the 1930s, especially as represented by the monster films of Universal Studios. The book's four sections re-evaluate the historical, political, economic, and cultural factors informing 1940s horror cinema to introduce new theoretical frameworks and to open up space for scholarly discussion of 1940s horror genre hybridity, periodization, and aesthetics. Chapters focused on Gothic and Grand Guignol traditions operating in forties horror cinema, 1940s proto-slasher films, the independent horrors of the Poverty Row st...
6282	dbpedia	3	54	https://www.nfi.edu/film-noir/	en	Everything You Need To Know	https://d150u0abw3r906.c…-Project-4-1.jpg	https://d150u0abw3r906.c…-Project-4-1.jpg	[ "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/01/NFI-logo-no-text-100px.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/New-Project-4-1-1024x576.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image9-6-1024x714.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image3-1-2-1024x576.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image5-6.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image11-4.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image7-2-1-1024x614.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image4-1-1-1024x576.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image6-1-1-1024x833.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/New-Project-3-1024x576.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image2-19.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image8-1-1-1024x576.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2023/02/image25-240x300.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/12/image12-7-200x300.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2023/02/image2-200x300.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/FI-Bounce-light-300x200.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/02/image4-5-1024x309-1-300x91.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/10/Low-angle-shots-a-perspective-225x300.jpg", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2023/01/image5-2-300x202.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/06/FI-Film-editing-300x200.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/12/image1-37-300x200.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2022/09/image3-11-300x212.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2023/10/image15-2-261x300.png", "https://d150u0abw3r906.cloudfront.net/wp-content/uploads/2021/10/rack-focus-1-200x300.png" ]	[ "https://www.youtube.com/embed/K77aPil7btM", "https://www.youtube.com/embed/_i2CsU2ldQA", "https://www.youtube.com/embed/XaVEB4H_rPg", "https://www.youtube.com/embed/MvuCJimGEQ4", "https://www.youtube.com/embed/h-h1ceF9ToI", "https://www.youtube.com/embed/jsmVL7SDp5Y", "https://www.youtube.com/embed/LppctxCYBzM", "https://www.youtube.com/embed/K6XDyth0qxc", "https://www.youtube.com/embed/PEI2zet48Uc", "https://www.youtube.com/embed/Vw42FUyh-hA", "https://www.youtube.com/embed/3a9YU1SVbSE", "https://www.youtube.com/embed/WDrvBdT9kUo", "https://www.youtube.com/embed/dLLAspkOv3w", "https://www.youtube.com/embed/DJKWIi5hTkM", "https://www.youtube.com/embed/9UldqFVQauY", "https://www.youtube.com/embed/BsKJHzQV-kM", "https://www.youtube.com/embed/HmMxfDSXEHo", "https://www.youtube.com/embed/aMNltwCjRo8", "https://www.youtube.com/embed/nhCgFN4B5c0", "https://www.youtube.com/embed/e1DKL-BNXqw", "https://www.youtube.com/embed/-9o1Pc6uDRU" ]	[]	[ "" ]	null	[ "NFI Team" ]	2022-02-26T06:56:43+00:00	'Film noir' is a term you've probably heard hundreds of times. It may conjure up detectives and femme Fatales dressed in black and white.	en	https://d150u0abw3r906.c…1/01/favicon.jpg	NFI	https://www.nfi.edu/film-noir/	‘Film noir’ is a term you’ve probably heard hundreds of times. It may conjure up detectives and femme Fatales dressed in black and white. Film noir has long been regarded as one of cinema’s most intriguing cinematic styles. But what exactly is film noir? The answer isn’t as simple as it would be, but there are several components of the style that are very obvious. So let’s get started! Image Source: MeltyCone Film noir is more of a style than a genre, so it is not limited to a single film genre. It’s why film noir is brutal to describe and why so many people differ about which movies are and aren’t. To this day, film experts disagree on the film noir status of renowned classics such as Notorious with Cary Grant and Ingrid Bergman, Sunset Boulevard in 1950, and Casablanca, including well-known classic movies of all time. There’s also a lot of discussion about recent favorites like Christopher Nolan’s Dark Knight trilogy. What Exactly Is Film Noir? In French, it translates to “black film.” It is frequently debated whether film noir is a cinematic type or genre. But what we know for sure is that there was an era in American cinema when there was a run of films with a dark, illusionistic lighting aspect, a crime-centered narrative, and a moral lesson. Image Source: AmbientMixerBlog Film noir is an American movie style from the 1940s and 1950s that features detective protagonists, sleazy surroundings, dim lighting, and a tragic tone. The genre developed iconic cinematic motifs and tropes that inspire filmmakers today. One of the most prominent topics in noir films is its European influence, which deals with post-war challenges, intensely realistic worries, and criminality. They contained propaganda-like themes that were highly contentious, mainly because they were first released when there were only a few bold enough to speak out. Consider film noirs to be an exciting way to vent about social issues. Defining Film Noir The History of Film Noir Unlike other stylistic categories, film noir was not created by directors of the theatrical era. In truth, movies in the so-called film noir genre had been prominent for six years before the word was created by French film critic Nino Frank in 1946. Frank used the phrase to refer to low-budget “dark picture” crime thrillers produced by Hollywood studios. While the “gangster picture” had been around since D.W. Griffith’s 1912 short The Musketeers of Pig Alley, cinema noir’s exact style and presentation were novels. Film noir arose from the success of American hard-boiled crime fiction novels, which were popular in the 1930s as low-cost, amusing paperbacks. The prominence of these books, published by authors such as Raymond Chandler, piqued Hollywood’s interest. Chandler and other crime novels did find work producing cinema screenplays in the 1940s. Origins of Film Noir Eccentric Approaches Used in Film Noir Videos Following World War II, the board rigorously regulated the level of violence and sex in films. Filmmakers used lighting and composition to create scenes with much impact and drama. As a result, they had to break some of the most fundamental laws of filmmaking. Image Source: YouTube Rather than leveling the layout on screen, pieces are frequently positioned asymmetrically to create a visual effect through instability. As a result, both the foreground and background parts are crisp, sharp, and equally important. There is no blur or selective focus. While traditional films strive for clarity and realism, film noir films employ reflections and unusual camera shots to create a feeling of tension and unreality. Instead of just the eye-level camera movements used in most movies, the cinematographer films objects from a very low or very high angle and may even shift the lens length to deform the scene even more. Filmmakers use close-up shots to amplify emotionally charged scenes. These aren’t your average close-ups, though. Instead, the camera moves in close enough to dominate the screen with only the character’s face, accentuating the extreme emotion-induced facial expression. Sometimes the screen simply reveals the character’s lips or eyes. Film Noir Cinematography on a Budget Elements of Film Noir Themes and styles of film noir were often pessimistic. The movies took inspiration from the plots of cheap, pulp fiction crime novels. The following features marked the gloomy atmosphere of film noir films : Mistrust Fear Bleakness Guilt Misery Cynical Calumniated Paranoia Sexuality Ominous Insecure Sense of loss Disillusionment Visual styling and low-key lighting represented the feelings mentioned above. In addition, the alma mater of film noir recollected the Cold war period explaining the then-booming nuclear annihilation. Crime Violence Misogyny Greed Anxiety Struggle for survival These features sketched the character of the anti-hero protagonist who personified the social evils with layers of immorality and injustice. However, surrounded by all these conventions, film noir hardly had happy or optimistic endings. On the other hand, women of film noir were either: Archetypes- dutiful, reliable, and loving or Femmes fatales– creepy, fake, double-crossing, attractive, unloving, crafty, tough-sweet, untrustworthy, erratic, manipulative, and hopeless. In a nutshell, film noir has the following features: Femme fatale Anti-hero protagonists, corrupt characters, and villains who are Detectives Cops Gangsters A lone wolf Sociopath Crook War veteran Petty criminal Murderer Politician Fast and brief dialogues Post-war disillusionment Characteristics of Film Noir There is no commonly accepted definition of film noir because the term originated after several film noir movies had been made. There are, nevertheless, several fundamental elements that may be found in the majority of instances of the genre. Film Noirs Characteristics and Trops Characters The typical noir character is a private investigator or detective with a murky past or moral uncertainty. The femme fatale is another well-known character: a desirable, forceful lady with questionable or ambiguous loyalties. In addition, supporting characters on the moral outskirts of society, such as criminals, gamblers, fighters, and nightclub performers, are frequently featured in film noir. Location Most film noir films are set in New York or Los Angeles. The city is shown as having a glossy facade and a dark underbelly. Several film noir films shot in Los Angeles used on-location shooting rather than studio lot filmmaking. Film Noir & The American Dream Lighting Film noir typically employs harsh lighting and effective shadows to compensate for low costs. Shots of characters shrouded by shadowing are famous, primarily when low-key lighting is used to produce suspicious shadows. The Basics of Lighting in Film Noir Tone of Narration Many film noir films have pessimistic or defeatist tones, reflecting Cold War-era beliefs, with characters placed in dire situations due to reasons beyond their control. Flashbacks and voiceovers are different storytelling elements used in film noir to present the story first. Noir Films’ Influences We’re going to take a deeper look into the world of film noir. It’s aesthetic as American as cherry pie, meaning it was formed in America but inspired by people from other countries as well. We’ll divide this into a few sections: The story’s content What is the look of the cinematography? The sound It’s also worth noting that noir isn’t simply about detective stories. It’s a Wonderful Life, Citizen Kane, and Sunset Boulevard are all noir films. It doesn’t have to star Sam Spade or Phillip Marlowe to be considered a noir picture. The Story (Content) Of course, one of the most significant influences on the story is hard-boiled pulp fiction. Both pulp fiction and detective story are American inventions, inextricably linked. The detective story’s origins may be traced back to Edgar Allen Poe’s The Murders in the Rue Morgue, which established the genre as we know it today. Pulp, like Poe, was seen as substandard to other literary works of the day. It was dark, brutal, and emotionally draining. Also, the writers couldn’t care less what the critics were saying. They needed to eat. Image Source: FilmAffinity Pulp emerged from the Gilded Age’s Penny Dreadfuls and Dime novels. Argosy Magazine, regarded as the first of the Pulps, was created in the 1880s. These stories were churned out quickly, written on affordable pulp-wood paper, and freelance authors earned a cent per word, keeping the genre alive. They were created at incredible speeds and intended to be consumed similarly. Pulp Fiction (and Film Noir) aren’t all about private investigators in fedoras smoking Lucky Strikes. Initially, periodicals such as Argosy offered stories for all tastes. Issues include a science fiction narrative, flying tales, suspense stories, and Western escapades. These periodicals quickly concentrated on one area, with publications such as Black Mask printing mystery fiction and Weird Tales dominating fantasy and sci-fi. Image Source: SortItApps Carroll John Daly, Paul Cain, Erle Stanley Gardner, and the legendary Raymond Chandler were all introduced in Black Mask. These tales influenced and were turned into some of the greatest Movie Noir films a few decades later. In addition, some write screenplays of the Pulp Fiction writers. Gangster films from the 1930s, such as Little Caesar (1931), The Public Enemy (1931), and Scarface (1932), laid the way for Film Noir and anything else featuring a morally bankrupt protagonist after that (The Sopranos, Peaky Blinders, The Godfather et al. Mob flicks). The Look Various things influence the Noir aesthetic, the most important being money. The majority of these films were made on a shoestring budget, and the filmmakers had to make do with what they had. While significant studios were building gigantic sets and bringing buffalo to Catalina Island, the smaller companies on Poverty Row had less-known actors and lower set dressing expenditures. That meant illuminating a dark place with light or simply filming on-site and making do with what you had. The Case of Black & White German Expressionism Some German filmmakers continued to make their own Film Noir films, with Fritz Lang’s M (1931) being the most well-known. Fritz’s work on Metropolis (1927) and Nosferatu (1922) impacted many Directors of Photography who later worked on Noir films. For example, look at this image from The Cabinet of Dr. Caligari; it’s insane. This has had a significant influence not only on Noir but also on Tim Burton. There’s a reason Christopher Walken’s character in Batman Returns is named Max Schreck, after the actor who played Count Orlok in Nosferatu. German Expressionism Image Source: Britannica Weegee From the 1930s until the 1960s, the renowned Weegee (Arthur Fellig) was a cold case photographer, taking images at night and racing the cops to murder scenes. His shot was outrageous; he reminded me of a crime scene photographer like James Ellroy. Image Source: YouTube The Sound If Film Noir had a soundscape, Jazz would account for 80 percent of the songs. Jazz, another American innovation, is the essence of the 1920s, the Jazz Age, and it serves as the backdrop for numerous noir films. Jazz Noir • 1 Hour Jazz Noir Saxophone Music • Jazz Noir Music Playlist But it’s not just the music that makes a difference when it comes to sound; it’s also the voices of the street. The music emanating from nightclubs is one thing, but the sirens are quite another. Most significantly, it is the cadence with which people speak. It’s that frequently “Me’yeah copper, what you lookin’ at?” but it’s also the Brooklynese captured in Damon Runyon’s works. How to Create a Film Noir Effect in Your Videos? If you want to add the film noir style to your films, you must first set up pre-production and then personalize post-production with a video editor. Construct a storyboard to build up the rhythm of the video because graphics must be compelling. Then, make a film scene list to break that down further, paying much attention to lights, character positioning, composition, and other factors. To generate harsh and distinct shadows, utilize small, powerful lights when assembling the lighting for a film noir impression. There should be no smooth transition from dark to light. Instead, remove the gray regions, and emphasize the difference between black and white. How To Get Black and White Style Best Film Noir Movies Notably, numerous Hollywood films from the 1940s and 1950s, especially classics like Citizen Kane and Casablanca, share stylistic and narrative similarities with film noir. However, scholars and critics often classify them as non-noir. The films in this list are among the most well-known in the film noir category. The Maltese Falcon (1941) Image Source: Britannica Even though two other adaptations of Dashiell Hammett’s detective novel The Maltese Falcon had been filmed before this one, John Huston’s 1941 version remains a cinema noir masterpiece. Humphrey Bogart plays private investigator Sam Spade, entangled in a complex investigation involving a crime and a bird statue sought after by several unscrupulous characters. The plot of The Maltese Falcon created a template for scores of subsequent films. Maltese Falcon (1941) Official Trailer – Humphrey Bogart Movie Kiss Me Deadly (Robert Aldrich, 1955) Image Source: The Film Sufi The film effectively killed off the traditional knight rogue private eye for good. Instead, Aldrich’s interpretation of Mickey Spillane’s Mike Hammer as a rage-fueled amoral misanthrope razing his way through a plot of Cold War dread in the nuclear age scarcely pauses for air or lets go of the audience until the genuinely apocalyptic ending. Kiss Me Deadly (1955) Trailer The Big Heat (Fritz Lang, 1953) Image Source: The Guardian The horrifying scene in which cruel gangster Lee Marvin throws hot coffee over his moll, Gloria Grahame, was memorable both then and now. Glenn Ford, a good cop, then joins forces with the deformed moll to put the guilty ones, cops and gangsters alike, to justice for his wife’s death. A key example of Lang’s unyielding and merciless auteur approach. The Big Heat (1953) – Trailer – Fritz Lang Night and the City (Jules Dassin, 1950) Image Source: MUBI Dassin traveled to London after being blacklisted by Hollywood for this piercing story of spiv Harry Fabian (Richard Widmark). Despite his lofty intentions, the latter always seems to be behind the eight ball. Widmark is fantastic as the doomed protagonist who constantly runs from somebody as his life spirals out of hand. NIGHT AND THE CITY, Jules Dassin, 1950 Classic Film Noir – Top 40 Highest Rated The Film Noir Legacy Because the noir cinema style is closely associated with a specific era, the genre is thought to have officially ceased in the 1950s. However, dozens of movies have since incorporated characteristics of cinema noir. Blade Runner (1982), L.A. Confidential (1997), The Big Lebowski (1998), Sin City (2005), and Blade Runner 2049 are current films that have been influenced by film noir. These films are frequently referred to as “neo-noir ” since they replicate essential characteristics of the film noir style. Masters of Neo-Noir Videos The Art of Shadows – A Short Film Noir Documentary What is Film Noir? Secrets of Film Noir Top 10 Film Noirs
6282	dbpedia	1	36	https://www.theguardian.com/books/2011/mar/26/authors-secrets-writing	en	On writing: authors reveal the secrets of their craft	https://i.guim.co.uk/img…29868715ca3c4a2e	https://i.guim.co.uk/img…29868715ca3c4a2e	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Books%2CFiction%2CPoetry%2CBiography+books%2CCrime+fiction%2CCulture%2CBeryl+Bainbridge%2CIan+McEwan%2CPD+James%2CIan+Rankin%2CMichael+Morpurgo%2CHilary+Mantel%2CHoward+Jacobson%2CPenelope+Lively%2CMichael+Frayn%2CMichael+Holroyd%2CPeter+Porter", "https://i.guim.co.uk/img/static/sys-images/Admin/BkFill/Default_image_group/2011/3/25/1301048104762/William-Faulkner-In-Holly-007.jpg?width=465&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Guardian Staff" ]	2011-03-26T00:00:00	<p>Listen in to interviews with some of our most celebrated writers recorded for the British Library, and enter our competition to identify the mystery writer</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/books/2011/mar/26/authors-secrets-writing	What is it that makes a writer? Beryl Bainbridge: When I write a novel I'm writing about my own life; I'm writing a biography almost, always. And to make it look like a novel I either have a murder or a death at the end. Ian McEwan: Ancestors, distant relatives and the past really were not part of my sense of family as I grew up. Something of my father's exile from Scotland – self-exile really – and then exile from Great Britain, has rubbed off on me and probably affected the way I write. When I started writing, I didn't feel that I was quite part of the English literary world or its systems of class or whatever – I always felt something of an outsider in it. That's faded over the years, but I think it has made quite an impression on me, this sense of not being deeply connected to all the branches and roots of family. I could make a narrative of my writing which goes something like this: that I began as a kind of existential writer, much more interested in casting characters almost, as it were, outside of history and outside of identifiable places, and as the years have gone by I've become perhaps a more traditional writer, or at least a writer much more aware – consciously, expressively aware – of the traditions of the English novel, the treasures that are laid up for us by the great 19th-century expositors of character and psychology. And so the gap between my early short stories and a novel like Atonement, with its country house – a novel that looks partly back over its shoulder towards Jane Austen, but also back towards the hallowed traditions of Agatha Christie and crime novels, in that you set up a scene, you have a stranger arrive and everything follows from that. So there's an enormous gap from Atonement to the earliest short stories with their very dispossessed, alienated characters who are living in a city with no name, often in a time that's not fixed. Listen to Ian McEwan Hilary Mantel: In the ideal world, all writers would have a Catholic childhood, or belong to some other religion which does the equivalent for you. Because Catholicism tells you at a very early age the world is not what you see; that beyond everything you see, and the appearance – or the accidents as they're known – there is another reality, and it is a far more important reality. So it's like running in the imagination. I think that this was the whole point for me – that from my earliest years I believed the world to have an overt face and a hidden face, and behind every cause another cause, and behind every explanation another explanation, which is perhaps of quite a different order. And if you cease to believe in Catholic doctrine it doesn't mean that you lose that; you still regard the world as ineffable and mysterious and as something which perhaps in the end can't quite be added up. It could be summed up as saying "all is not as it seems", and of course that's the first thing Catholicism tells you. And then it just runs through everything you write and everything you touch, really. Plus, it's good to have something to rebel against. Ian Rankin: It wasn't the thing my parents wanted me to be good at, but if you're working class and your parents have never owned their own house and never owned a car and stuff; they think you go to university to get a trade, to get a profession. So accountant, lawyer, dentist, doctor. There was one relative, an aunt of mine who had grown up with my mum in Bradford; she was married to an accountant, and he had a nice flash car; they owned their own home, seemed to have a very good standard of living, so I thought, "Well, I'll become an accountant." So by the age of sort of 15 or 16, that's what I thought I was going to do, and I was doing economics and accounts . . . and then there was this sort of epiphany. I was 17, I'd just sat my highers and I'd scraped a C for economics – just passed economics – and I thought, "Why the hell am I going to university to do a subject I'm really not that interested in and obviously not that good at? The thing I really like is English; I like books." I knew very few professional writers who made a living out of their writing, so there at university I was thinking, "Oh, I'm going to have to become a teacher, or hopefully an English lecturer, and I will continue to write as a hobby part-time; in the margins of my life I'll be a writer. Penelope Lively: When I was about 11 or 12 I think I must have said something about how I wanted to be a writer; I don't remember having any such aspiration until much, much later. But I must have said something, because Lucy [my governess] wrote to Somerset Maugham and said that she was governess to a little girl who wanted to be a writer and what would Mr Maugham suggest? Heaven knows how she managed to write to him – I suppose care of the publishers. He wrote a very nice letter back saying absolutely the right thing: "If your little girl is interested in writing then the best thing she can do is read a lot." Perfect answer; exactly what I'd say myself. Howard Jacobson: I cannot remember a time when I didn't want to be a writer, and specifically a novelist; I can't remember ever wanting to be anything else. I never wanted to be a sportsman, I never wanted to be a musician. I never had the slightest bit of interest in music; we were too clever in my school to be interested in pop music. So when other boys had pictures of footballers on their walls or they had pictures of musicians on their walls, I swear to you, I had a picture of George Eliot, I had a picture of Jane Austen; I had a picture of Ben Jonson, a copy of Sargent's portrait of Henry James which was in the National Portrait Gallery . . . I only ever wanted to be a writer and I only ever valued writers. And it hasn't changed; I only ever value writers. Listen to Howard Jacobson PD James: I knew from very early childhood I wanted to be a writer – never any doubt in my mind about that. I used to tell stories to my brother and sister. At one time we were in one room; my sister and I shared a bed most of our childhood – a double bed – and my brother had the single one against the wall, and they would want a story last thing at night, and they were very unimaginative in a way because they were all about the adventures of a pig called Percy Pig. I just knew I was going to write one day. UA Fanthorpe: I never thought of being a poet because, a) poets were men on the whole, and b) they had to have studied Latin and Greek. My school didn't do Greek, so as far as I was concerned I was ruled out. I know this was ignorance on my part, but . . . you get the impression that to be a poet is something rather highly educated and special. Apart from reading, what is it that makes someone want to write and what happens on the path to becoming an author? Beryl Bainbridge: The only reason I wanted to write was to write down my childhood, to write about things I knew, the people I knew . . . I don't believe anybody makes anything up, there's no such thing as the imagination. I mean people may say they don't know where the story came from, but they must do . . . there's nothing you can make up. In general, you're recalling memories I think, and that's the only thing that interested me about writing. Michael Morpurgo: One of the things that frightened me about writing when I was a small boy is that I had no ideas and no imagination. I was constantly being told this anyway, and I couldn't write very well. I could joke around like other boys, but on paper I had nothing really serious to add, no adventures I wanted to write down, because I didn't – I just didn't link the two up. I think I learnt at some point that the imagination is not something that you either have or don't have. For me – and we're all different – it's triggered by real people, historical events, memories, by reality of some sort. I don't think in my life I've ever written a story which does not have some little root, some little seed of truth or observation. Hilary Mantel: I'd been reading about the [French] revolution for a while. I'd retained an interest in it since school days, and I'd dropped the whole thing during my university years. And then I kind of remembered it, and I picked up one or two biographies and got back into the whole thing. And then I began to look for more and more books and I began to take notes, and one day stopped myself and said: "What actually are you doing?" – and the answer was "You are writing a novel". That was the day I remember because it was drawing a line in the sand, I think, admitting to myself that this was what I was going to do and setting my stall out to write a very big novel as well – nothing like the kind of thing people are supposed to produce as their first novel. And I think then, at about the age of 22, I channelled all my ambition into my book [A Place of Greater Safety]. I had severe reservations about my capacity. I knew I could write from the point of view of style; I knew I could make a scene work, but I didn't think I had very much imagination, and for the longest time I concentrated on finding out every possible detail I could ferret out of the record. And then there came a point where with a particular episode the facts ran out, and I thought: "This is going to be hard, I will have to make it up." And that was the second part of becoming a novelist, because I realised I could do that too, and I don't know how but I really believed in it. I would stake anything on the fact that one day it would be published, and I gave it the best parts of myself and I gave it the best of my time. But when I look back, would I have advised myself to do this? Well no, I don't think you give anyone that advice, because it seems such a mad enterprise to undertake. I wanted to write this book because it didn't exist already. I wanted to read a really good novel about these people; I wanted someone to have worked out their imaginative dimension for me. I suppose it seemed like the one certainty in life: I would finish it and it would be published. The path to publication was far more torturous than I could ever have imagined, but the day that it was published I was able to . . . to shake hands with my 22-year-old self. How did you decide which form or genre was right for you? Howard Jacobson: After all the years of trying to write like Lawrence or James or Tolstoy and just giving it up and thinking: "Oh God it's not going to happen," I found myself at the end of my academic career teaching at Wolverhampton Polytechnic, which was a job to me so humiliating, in a city so ghastly, at a rubbishy time in my life, that I started to write about it – a satiric campus novel which I'd never thought I would write anything like in my life, and I thought: "It's working, this looks as though it's working." What partly gave it life was my realisation that I was a Jew in this, it was something about being a Jew in Wolverhampton, I don't know why. And I called my character Sefton Goldberg and I kept coming up with this phrase which is repeated many times in the novel, "Being Jewish, Sefton Goldberg," and I thought "That gives me a little comic edge." Never thought I'd write a comic novel, never thought I'd write a campus novel and I never thought I'd write anything about Jews. Here was all that and that was beginning to work. PD James: I never read romantic novels, ever; I didn't enjoy them. And as I never liked fantasy and I've never liked science fiction, I suppose that leaves for one's comfort reading the detective story. The form is often quite nostalgic; if you're reading some of the earlier ones it's a different world, it's a more ordered world, it's a safer world – despite the fact they're dealing with murder. You're back in this English village with the well-known characters; there's a sense of nostalgia and security about them, and in the end a terrible crime is solved and peace and order is restored. And in real life it isn't, and in modern detective stories, especially mine, it isn't restored, but in most classical detective stories it is restored. You know it's going to turn out right, that virtue is going to be rewarded and evil is going to be punished. So they do have that ability to provide for the reader some kind of solace. I don't think we choose our genre, I think that a genre chooses us. The idea that you would lose control has always horrified me, and I suppose this is a very controlled form of writing. Michael Holroyd: I like to think that biographers can sometimes be messengers between past people and the present. What are all these letters and journals there for? Is it possible that when we're dead we have different priorities, that we no longer wish to be silent as it were? I believe there's a case to be made for bringing the dead to life, for a bit, in a way. To be a messenger going backwards and forwards is worthwhile. Where do your ideas come from? Penelope Lively: Usually the idea for a novel comes to me, in a strange way, from reading rather than from living or observation. It's often what I can only call an intellectual concern – some sort of large issue I've got very interested in. The operation of memory is an obvious one because several novels have been prompted by that. Or again the nature of evidence – that's another important theme to me. Then the problem is to find the vehicle, to find the story and the characters and the backdrop, because they're going to be the vehicle for this idea. Because then I don't want the idea to show very much; I want the idea to be a sort of seven-eighths of the iceberg, a kind of ballast, but without which the whole novel would flounder. Ian Rankin: There's a kind of question I want to answer, a theme I want to explore. It could be something as basic as the financial crash and what it meant to Edinburgh as a city built on money, when so many jobs depend on money. It could be xenophobia, it could be people-trafficking, immigration policy, the G8 coming to Scotland, who changes the world – do the politicians change the world or do activists change the world or do terrorists change the world? It's stuff like that, and it's just something – usually from the newspapers or from the news or from conversations I've been having with people. There's something bugging me; there's something I'm mulling over. So then I just find a way of doing it as a novel. Michael Frayn: Ideas for things come into one's head, or bits of ideas; you feel there's something – there's some meat on the bone, there's something there that lures you on. The more you think about it the more you're led into this new world and the more of that world you see. And part of having an idea is having some notion of how you would tell the story. It's not just thinking it would be nice to write something about the Crimean war, it's having some particular way in mind of writing something about the Crimean war, and the idea for the way to tell the story helps you to see what the story is. The story suggests the means, the means suggests the story; it's mutually dependent. And you don't have very much choice in the matter. Ideas come, characters suggest themselves, and the nature of the story and the nature of the characters dictates how it's going to be done. I suppose if people are not writers or painters or whatever they see the life of the artist as being one of great freedom, but it's not really; it's as constrained as anyone else's by the material that's available. The thing seems to have some kind of reality in one's head; it seems to be something that one is discovering, rather than inventing. I see that as a kind of psychological trick on oneself, because the whole point about fiction is that it's invention. It doesn't really seem like it at the time – it seems as if you are slowly discovering something that already exists and seeing how the different parts of it relate to each other. Hilary Mantel: The idea that kicks off a book is usually quite slight and circumstantial. So I see something, hear something, think "That would make a story", and then I find its vast hinterland. No story is ever simple. And when I'm in the middle of it I think: "Oh, but this is what I'm intensely interested in, more than I'm interested in anything else." But that's just for the while of the book; it's a way of being in it and dwelling in it. What you're going to do is put your intellect and your emotions and your personality in its service. But when you begin you don't know how all encompassing a narrative will become. It's like hearing a distant sound and thinking: "Well, is that actually thunder?" and then the storm comes closer and closer and you're caught in the middle of it before you know where you are. What makes a poem work and can a poem ever be willed into being? Wendy Cope: You've got to have something to say, but you don't always know what it is. It's often just some words in your head that you think could be a line of a poem, so you write them down and see where it goes. One of the major misconceptions about poetry is that the poet has some kind of agenda and intentions, not just that some words come into their head and then they start playing with them and seeing where they go. Because sometimes I will try to write a poem and it just comes out dead because there isn't really anything that's deeply felt or worth saying. One thing that makes poems work is strong emotion, and I remember hearing James Berry, I think it was, saying that one characteristic of a good poet is that they feel things intensely, and he said: "Of course poets are not the only people who feel things intensely, but it is one of the qualities," and I think that's true. John Fuller: Can you choose what you write? I suppose as I've got older I've been readier to choose topics and simply sit down and get on with them, rather than waiting for something to hit me sideways. I had been trying this business that Browning notoriously tried, on a New Year's resolution, writing a poem every day. It is utterly impossible because, for instance, if you're writing quite a long poem you won't write that in a day. And if you had to go to the dentist on Tuesday and then something happens on Tuesday afternoon the whole day has gone and you're not going to sit down in the evening and complete a poem, so it's not possible for any number of reasons. But the general wish to keep writing, to go at it, to find the new poem, the new subject immediately is quite an interesting experiment. I once kept going for quite a long time, and most of that material was discarded, but I think the very business of doing it uncovered a lot of things for me that did ultimately lead to poems; it was material I could make use of and it suggested other things to me beyond what I'd actually got in the notebook for that day. Browning gave up after three days, but he did write "Childe Roland" on one of them, so that's pretty good going – that's a long poem. Do you have a routine? What tools do you use? Michael Frayn: It's very difficult when each day you start with a sort of cold brain and nothing happens. In my case I look back over what I was doing the day before and make a few small corrections, often to typing errors, then maybe a few grammatical errors, and then I see a better way of putting something, and gradually you get drawn into the world you've created and you start rewriting what you did the day before and gradually coming up to the point where you left it the day before and going on. And certainly at the end of each day's work I try – when my brain is hot and stuff is happening, but when I'm really too tired to go on – to make hasty notes and write down bits and pieces of what's going to come, anything that's already in one's head, sort of scatter it down on the page so that when you start the next day you've got some stuff there to work on. Ian Rankin: You get these writers who say: "I go to my office at nine and I write from nine till 12 and then I revise from two till four and that's my day, and I do 2,000 words a day and when I've done my 2,000 words a day that's me," and you go: "What?" I have days when I do fuck all. I sit down at a computer, nothing's coming, I'm having to tear each word out, it's like digging for coal, and I'll go: "No, this isn't working," and I'll just walk away. Anne Fine: The first bit usually is in pencil, and then later in the day or whenever I will often type that up, and from then on I will be correcting and then I'll work on it in pencil again – over and over and over and over and over – and some pages come fairly easily and don't take much correcting, especially if it's a book for very young children where you're keeping the prose extremely simple. The older the intended reader of the book is, the more complicated it becomes, so you might end up printing certain pages out 20, 30 times. I have novels where, out of sheer interest, I've kept every version of it and I can fill a box two, three feet off the floor with drafts. Michael Holroyd: What I really like is rewriting, but you cannot rewrite until you've already written, and that is terrible. And then rewriting the rewritten text, and so on, up to 10 times, hoping always to get it shorter, more condensed, pack more energy into it. Even if it's a sad thing, you want to get the essence of the most dolorous phrases and connect them in some way, [and] so in that way try to perfect something. You have the energy from the first draft, the momentum, the "go", but then you try to shape it more. Hilary Mantel: When I had an ordinary typewriter I had to do much more in longhand, and the typing was a kind of copying of it, or a polishing-up, but not original work. But as soon as I moved to a computer I began to work on the screen and I had a sense of the words appearing, almost as if they were appearing out of my unconscious because the effort to type is so little compared to a manual typewriter. So you haven't anymore got that chop chop chop of the keys – you've got an almost silent process so you can hear the rhythm in your head better. Fludd was the first book that I worked on entirely by that process, from inception, and I think that's made a huge difference to me. I can think of it as far more like composing, like hearing a tune and composing a piece of music, if you like, than I ever could in the days of typewriters. Of course soon nobody will understand this: there'll be no one alive who wrote on a typewriter, but it was a very cumbersome process. What sort of a relationship exists between writers and the people they create on the page? Michael Frayn: Well, you do get very obsessed with them. You can't help thinking about them a lot. However much you think in advance, however much you plan, the events will get changed as you come to them and work on them. And the events are the characters, the characters are the events. So they are in flux. It's not like thinking about friends, or people one knows, whose lives are not under one's control. With characters, you are actually creating their lives with them. It does seem – and I realise this is a psychological trick and it sounds very coy – but it is as if they are speaking and leading those lives. It's a very symbiotic relationship. You do seem to be with people who have minds of their own, thoughts of their own, but at the same time you're very much involved in leading their lives with them. PD James: How it works for me is best described in the opening of Devices and Desires. This book begins with the murder of a young girl, I think she was called Brenda. The murderer is a serial murderer of women who cuts off their hair, and whistles, so he is called the Whistler, and it had the opening that Brenda was the fifth victim of the Whistler and she died because she missed the bus. And the bus she missed was from the country town, which was obviously Ipswich, where she'd been to a dance, home to her village. She gets a lift with two women drivers, but they can only take her part of the way; they leave her at the end of this country road. She never reaches the bus because the murderer is there on that road. When I was writing that passage I was Brenda, feeling first of all the relief that she was going to be on the bus and then the realisation that there was this murderer, and then an increasing fear and unease. I was Brenda knowing everything that had happened at the dance, although I wasn't going to write about it. I was Brenda knowing exactly who she would meet at home when she got there and what her relationship with her parents was, although none of that was going to be in the book; I was just Brenda. But then with part of my mind, of course, which was detached from being Brenda, I was thinking how can I describe this journey. I think: I'll have bushes on the left-hand side where she's walking because that's more frightening than the open fields, and then on the right I'm going to have some of those distorted trees you get in East Anglia, distorted by the winds – some of them look like witches, waving witches' arms; very sinister. And then I'm going to have a car coming past, and then there'll be this familiar, reassuring sound, and then just a blaze of light and sound as it rushes past, and that will make her feel even more lonely and isolated. So there's this duality of actually experiencing what your character is experiencing, at the same time with part of your mind thinking of the technique of bringing this alive for the reader. Ian Rankin: Where do all these characters in your books come from? They come from inside your head. You're a role-player, you're an actor, and you've got all these different characters who you invent and who then are there forever. I must have a cast of thousands by now of people I've invented. It's not really putting on someone else's clothes, it's putting on someone else's skin, their mind and their body. For example in The Complaints, Malcolm's sister has a fairly abusive relationship; you know, she's living with a guy who she loves but who's not a very nice guy. Well I didn't just want to look at her through Malcolm's eyes, I wanted to know what it was like to be her. But I didn't go and talk to lots of battered women or abused people; I just thought, "What's it like to let yourself get in a situation where you can't escape, you don't want to – you don't want to walk away, you know you should but you won't and you can't?" And I think that's the whole thing about loitering with intent, and Muriel Spark's notion that that's what writers do. You just think about these people until they become real to you and you can inhabit their bodies, for a short space of time. I mean only for a page or two, but a page or two is all you need. Penelope Lively: I'm very keen on dialogue as a way of defining character, so I often find that the notebooks fill up with passages of dialogue between a couple of characters who at that stage will be called A and B or X and Y; they haven't even got names. I know sort of who they are, that they're a he and a she, and they're central characters, or not. But I haven't named them yet because that comes later, but I want to hear what they say, I want to get some idea of what their voices sound like because in that way I shall be able to fill them out as characters. It's the most odd business, the naming of characters in fiction, because it's so unlike people's names in real life. Your name has not been chosen for you by your parents because they think you look as though you might be a Sarah or a Penelope – they've plucked it because they think it's a name they rather like and it perhaps goes with your surname. Whereas in fiction you do feel that you have to match the name to the character and a character who sounds very much like a Tom or a Dick you're not going to be calling Percival. Hilary Mantel: Where do you pull your characters from? You have to create them out of your own self; where else could they possibly come from? To create the protagonist of a book you really have to be prepared to live through them, and for me the process is physical as well as mental: I don't quite know how to put this, but I am so intensely engaged with my characters that their physicality passes into mine, and I've only just discovered the joys of working with a really healthy central character. When I started writing Wolf Hall, my novel about Thomas Cromwell, I got extremely strong. My health suddenly improved and I felt as if the boundaries of my being had become firmer. Cromwell is physically a short, broad, squat, strong man, and what I've always thought about him is that he was probably very hard to knock over. This is important because he had been a soldier, he had led a very adventurous youth, and I thought, well, if I'd only known what a tonic it would be, I'd have started writing this book years ago! It is just amazing what imagination can do – what it can cause to happen in the real world, and every day I'm proving and exploring how strong the products of one's mind can be. Listen to Hilary Mantel How much planning is required when it comes to structuring a book? Beryl Bainbridge: Structure is the most important thing of all, I think, in writing. You may think of a marvellous plot, but unless you know how to structure it, which bit goes where and where, you won't get the full impact of it. Ian Rankin: I'm really not in control at all of what I'm writing. It's almost as though before I start writing there's a shape sitting there that I've not seen yet, and when I start to write the novel the shape will reveal itself to me, the novel will decide which way it wants to go. Does it want to follow this character or that character, is this minor character really interesting and worth blowing up into a full-scale character or is this major character unnecessary and needs to be done away with? Maybe the shape is sitting in my subconscious, buried way deep down. It's like a high-wire act, because you've no idea when you start the book if you can finish it or not; will it have a satisfactory denouement? A writer like James Ellroy, for example, will do a two to three-hundred page synopsis of the book before he starts writing it because he needs to know everything that's going to happen in the book. I don't need to know everything that's going to happen; I'm much happier playing the detective; ie, the first draft is me getting to know the characters and their motives and everything else, so I start the book knowing almost as little as Rebus does, or whoever the cop or main character happens to be. I think that keeps the suspense level up, because if I don't know where the story is going probably the reader doesn't know either. So I'm not giving stuff away because there's nothing for me to give away; there are no red herrings at the start. I don't like all that kind of stuff like red herrings, a sense of holding back necessary information from the reader, which Agatha Christie did brilliantly throughout her career. To me that's the least interesting part of the crime genre. Listen to Ian Rankin PD James: By the time I begin writing, the plot is there and there's a chart which shows in which order the things come so that the structure is right. But that will change, as new ideas occur during the writing, which makes the writing very exciting. New ideas: sometimes one greets them with huge enthusiasm and thinks, "Oh, that's really clever, yes, this is how it happened and this is logical and right and inevitable and that will be how it will be." So I never get exactly the book that I thought I was going to write. Michael Holroyd: When you write biography or history or non-fiction you always look for a way of escaping from the prison of chronology before you come back into it, and sometimes what I try to do is to have two lines of progress in a narrative: one is the "and then and then and then", 1900, 1901, 1902. But then there's the thematic line as well, and that doesn't keep exactly in step with the other, so the challenge is to have a narrative where you can stop the sequence of things and have a thematic break from that and then return. I once, in my biography of Shaw, left Sidney Webb I think on the top of a hill – at a certain date, of course. Then we had a lot more "and then", and 30 pages later I thought, "Okay, he can come down now". After the writing's finished, how do you judge the quality of your work? John Fuller: I don't think a writer is necessarily a good judge of his own work, whichever way it goes. He can be over-fond or overcritical. Peter Porter: I'm not at all confident about the quality of what I do, and I suffer like all people do, I think, who are writers, an intense disappointment – not at the reception of what I've written, but at my own inability to bring off what I want to bring off. Auden in his introduction to his Collected Poems (well, the first one of his collected poems), said in a writer's work there are usually four categories – he loved categorising things. First, sheer rubbish which he greatly regrets ever having done. Second, poems he's got nothing against except they're not very important; they're not very good but, you know, he doesn't hate them. Third, the saddest of all, the fair notion, fatally injured. And then the last one, the handful of poems he's truly grateful for, which if he were to publish would make his work seem dangerously slim, and vitiated. How do you handle the reviews? Penelope Lively: I would love to just disappear to the other side of the world at publication time, or put my head under a pillow or something, but you can't. So I simply dread it. I love a year in which I don't have a book coming out and dread a year in which there is one. A bad review doesn't get any easier to take, so you just have to sit and suffer for the period that it happens. Some writers say they don't read their reviews. I never quite know whether to believe this or not. That must mean not picking up a newspaper for about two months. Hilary Mantel: You have to give an author the elementary courtesy of getting the basics of their book right. But if that's in place, well then opinion is free, and from time to time you are going to be horribly misunderstood, but after all, you gave that book into the world to be misunderstood. You can't staple yourself to it and go round explaining yourself and protest that the critics have misunderstood because that is something they're perfectly at liberty to do. The secret is that by the time reviews come out you must be deep into another project, and that is what gives you your energy and the motivation to carry on; it's the new book not the old book. Such a lot of it is about keeping your confidence up. But I think that's got more to do with what happens day by day than what the critics say, because the blank page breeds a crisis of confidence every morning. And once you've navigated your way through all the difficulties thrown up by a particular book, and done it again and again, that's where your confidence is drawn from. Michael Holroyd: I have altered one or two things as a result of reading reviews and thinking: "That's a valid point, never thought of it. If I get another chance to do it in a new thing I'll make a note of that," and I have had a chance and I have changed it. It could be even a single word. But I think I've probably become more sensitive to them. I would say people as they get older become either more like stones or more like sponges, and I'm probably more like a sponge. One is investing everything in it and one wants the child to be well received. And what about publicity? Beryl Bainbridge: In the old days you wrote a book, and if you were lucky it was reviewed, and then after about a few months the whole thing was forgotten till you wrote another one. But nowadays, if you have a book coming out you go all over the country – you have to really flog it; your publisher expects you to, and you're forever giving readings or talking about it on the telly or the radio . . . You could turn down invitations to America, to India, to Australia, to all the different festivals. I always turn them down because I hate travelling. You'd have various articles in the newspaper, they'd come round and interview you and take another dreary photograph, and you'd go from city to city doing readings, because nowadays there is a so-called book festival practically every month, so there's always somewhere to go. Peter Porter: The way things are today you couldn't be as successful, in the sense of having your works put on and esteemed, as Shakespeare was and yet be completely unknown to everybody as Shakespeare was in his time. If he were alive today he'd be on everything. Every morning he'd be on the Today programme, he'd be having special sessions at the South Bank, he'd be in 1,000 different pictures and he'd be interviewed and he couldn't avoid it. Michael Holroyd: When my career started, you did perhaps something on the radio, the Third Programme maybe or the Home Service, and that was it. There was much more advertising, there were more bookshops and advertising in newspapers and magazines, but that didn't involve you. You might do an interview, yes, but then from the 70s onwards writing became more and more a younger brother of the performing arts, so you have to go out and blow the trumpet and beat the drum in front of your book. I think that because we're no longer a literary culture, as we used to be, it isn't the word that speaks: you have to perform the word a bit, you have to demonstrate it, you have to appear, you have to be the book, and that's quite different. And there's something terrible about it really, because you finish a book and it's not published for another year or so; possibly you're writing a different book – involved in that – and when people say, "What's your book about?" Well, what is my book about? A terrible blank that stares you in the face. The book should do the speaking and I should stay at home. So why write? Hilary Mantel: It's always worried me, is writing a way of life or is it a way of not living, is it essentially a second-hand pursuit? I think it probably worries all writers, but then they say the onlooker sees most of the game, so that's the virtue of it. Peter Porter: Literature is a sort of keeping going while the various destinies all around about you are being enacted. It's a way, I think, of coping with time. We don't seem to live very long, and yet on the other hand 24 hours can be a tremendously big burden. Michael Holroyd: The only happiness one gets from writing is doing a good day's work, of suddenly discovering something on the page which works. You pick up the page, you shake it, it's there, it doesn't come to bits, and you didn't know it at the beginning of the day and now you know it. Now that's a real happiness, and unless there is some element of that, well why on earth is one writing? Because otherwise moving a pen across the page is not all that enjoyable. PD James: There are times of boredom, there are times of regret, there are times of disappointment and there are times of it's just hard work and times when you wonder if you'll go on today – better not leave it and wait till inspiration comes? Always fatal, I think. But basically, yes, hugely pleasurable, and certainly a writer is happiest, I think, when either writing or plotting or planning a book, or most of us are. Although some people would say – when asked if they were happy as a writer – would probably say: "No, not particularly, but I would be very, very unhappy if I weren't a writer." I think there must be a kind of compulsion about it. Beryl Bainbridge: I don't write for readers; I don't think many writers do – I don't think any. They say they do, don't they? But . . . well, I only write for myself, and when somebody says: "Oh, your book has given me so much pleasure," I just think, "How peculiar". I don't know what to say. Of course I don't say that; I smile and say "How nice" – but I think I'd have written books whether they were published or not. I just liked writing. Listen to Beryl Bainbridge Competition We've teamed up with the British Library to give you the chance to win one of ten copies of the CD The Writing Life: Authors Speak. To enter, just identify the writer speaking below, and email us with the answer at books.competition@theguardian.com. Please find the full terms and conditions for the competition here. Listen to the mystery writer
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From then on he was in the The Whistler secret police to stay. At dusk one day last February, a mid- Dirty Missions. Under a host of differ- dle-aged, professorial sort of man opened ent names and forged passports, he was the door of his neat, middle-class Frank- sent from one European country to an- furt apartment to a stranger. "Are you other and ordered to use his actor's skill Herr Okolovich?" asked the caller, in per- to pass himself off as a native. In 1943, by fectly accented German. "I am." "Then I his own account, he directed the assassina- must talk to you privately. It is most tion of German Gauleiter Wilhelm Kube important." Herr Okolovich ushered the in Minsk. After a hasty cram course in stranger in and offered him a cup of tea. German, he was planted in a camp for It was brusquely declined. A moment German P.W.s. In 1947, he was granted later, switching from German to Russian, Rumanian citizenship under the name the stranger told Herr Okolovich his Stanislaw Lewandowski. But for all his name and business: "I am Captain success and all his skill, Khokhlov was far Khokhlov of the MVD, and I have been from happy as an undercover agent. "I ordered to kill you." got into Soviet intelligence when my Last week, before a battery of micro- country was at war," he explained last phones, cameras and newsmen in a U.S. week. "At that time, I considered it my Government office at Bonn, Captain patriotic duty . . but the war ended, and midnight talk. Next morning Churchill called Britain's top military men to an emergency Cabinet meeting-the first time the Cabinet has been summoned on a Sunday in nearly seven years. The Cab- inet made the reluctant decision that they could not send either troops or planes to help the harassed French. Arriving in Geneva, Dulles set his jaw grimly, and did his best to re-establish an air of Western determination. He dis- missed talk of partitioning Indo-China, a notion to which the British have clung. "The only partition I would favor," said Dulles, "would be to set apart a place way up north, about the size of this room, and lock up all the Communists there." Balky Ally. Next day a weary Bidault arrived in Geneva only hours before the conference opened. Behind him there was more trouble. Bao Dai had balked at the last minute. Too many people in France were talking of dealing with the Viet Minh and partitioning his country, said Bao Dai and he refused to sign the treaties establishing Viet Nam's indepen- dence, which the French had hopefully expected would take from their war the taint of colonialism before Geneva opened. As the conference opened, the West managed to bypass temporarily the ques- tion of Red China's status by getting agreement that the chairmanship would rotate among Russia, Britain and a neu- tral-Thailand. The week's events, how- ever grim, had brought the West to a closer understanding of the peril, if to no agreement on what was to be done about it. On Geneva's first day, Georges Bidault asked dramatically for a truce long enough for the French to evacuate Dien- bienphu's 1,500 wounded. He appealed "to the conscience of the civilized world . to save from the hazards of combat the men who no longer can take part in it because they have already shed their blood. May my appeal, issued from this high place of peace, be heard." The Unhelpful Indians The scene: India's Upper'House of Par- liament. The issue: U.S. airlift of French reinforcements across Asia to Indo-China. The question from the floor: Would the U.S. Globemasters "transgress" Indian territory? Prime Minister Nehru's reply: "It has been the policy of the government for the past six years not to allow foreign troops to pass through or fly over India." There was indeed such an Indian policy, but Nehru chose to restate it in a desper- ate hour when his remarks would give sharp offense to the U.S. (see NATIONAL AFFAIRS). Parliament got the point; M.P.s cheered him wildly, and newspapers head- lined NEHRU'S AIR BAN round the world. Two days later Nehru defined the war in Indo-China to his own satisfaction: "The conflict is in its origin and essential character a movement of resistance to co- lonialism." Nehru rounded off his oration by saying the U.S. threatened the peace of Southeast Asia. He had nothing to say about Red China. TIME, MAY 3, 1954 Khokhlov, 31, MVD CAPTAIN KHOKHLOV (WITH FAMILY) With poison and conscience. carry out his murder assignment. The stated reason was simple enough: "A con- flict between Soviet intelligence, which tried to force me to commit criminal acts, and my conscience"; but the facts leading up to it made a story that sounded like a collaboration of Graham Greene and E. Phillips Oppenheim. As a young man in Moscow and a duti- ful member of the Young Communist League Organization in the late '3os, Ni- kolai Khokhlov was only interested in becoming an actor-and eventually a movie director. He played a few bits in Russian plays and movies, and even made himself a small reputation on the variety stage as an "artistic whistler." When the Nazis invaded Russia, he volunteered for front- line duty, but was rejected because of bad eyes. As the Nazis drew near to Moscow, however, Khokhlov was recruited, along with many other young actors and artists, by the NKVD (the MVD of the time) to fight a rear-guard guerrilla action in case of my country nut asu tut had nothing to do with defense. They were dirty missions." Once Khokhlov tried to quit the MVD but failed. Another time he refused to undertake a mission involving murder. His bulwark and supporter in such bold ac- tions, according to Khokhlov, was his wife Yanina. She was a young construction engineer and a Roman Catholic. Tears formed in Khokhlov's eyes last week as he talked of her: "She helped me to under- stand that there exists in the world real decency, and that there is such a thing as purity of motive." One day last October, Kholildov was summoned to the headquarters of MVD's grim Ninth Otdel, the "terror and diver- sion" section now under the direct super- vision of taciturn Alexander Panyushkin, onetime (1947-52) Soviet Ambassador to the U.S. He was told to proceed to Frankfurt, there to assassinate one Georgi Okolovich, a big shot in the right-wing Russian expatriate organization, NTS, whose Berlin director, Dr. Alexander Trushnovich, was brutally abducted from West Berlin by Communists a fortnight ago (TIME, April 26). Khokhlov said that he went home to talk the matter over with his wife, and both decided that a second refusal of an assignment would mean certain death for Khokhlov, for Yanina and for their year-old son. Khokhlov suggested that he might go on the mission and let somebody else do the actual killing, but Yanina was ada- mant. "If this man is killed, you will be the assassin," she said. "I can't remain the wife of a husband who is an assassin." Together they decided that Khokhlov must go on the mission and then defect. "I asked her," he said, "if she realized what awaited her if I `went West.' She knew, and it in no way altered her decision." After their momentous decision was made, Khokhlov's problem became simply one of following orders-up to the crucial point. With two East German Commu- nists who were to serve as his assistants, Khokhlov went to work. The Germans went through refresher courses in judo, marksmanship and automobile driving. Khokhlov pored over maps of Frankfurt, Approved For Release 2004/03/11 : CIA-RDP58-00597A000100240103-3 27 'y~.t uldic brochures on the NTS and con- of pine board at 24 ft and dun d A r t ' tei teLing his story to his inte~t, ^*- ncd tvitli b u- um siS/eZi lH gi1e) e Z&Mfo dPA PS8O 9-7A0OGlOD2~1 G3h3= was persuaded to turt:- weapons ands 6. 1 cyani e and gum. himself over to U.S. agents in Germany. A Mere Squeeze The weapons decided The cigarette cases were designed to fire His rendezvous with his East German or, for Khokhlov's mission were specially when the lid was open, exposing what accomplices was kept by U.S. agents in- designed and built according to MVD looked like a full pack of cigarettes. But stead, who found the two assistant assas- specifications. As displayed for newsmen the cigarettes were only butt-length tips; sins only too happy to defect themselves. in Bonn last week, they were enough to behind them was the mechanism designed This was in February. Ever since then, send chills down .the hardiest mystery- to fire a charge of poison into a man's until Khokhlov's story was made public lover's spine. Two were 'tiny derringer-like bloodstream by a mere squeeze of the last week, American intelligence officers pistols, small enough to fit in the palm of finger at the point where the case was and their British counterparts had been the hand. Two were machines of the same naturally held in proffering a smoke. cross-questioning him and cross-checking type concealed in leather cigarette cases. The mid-January preparations were all his story, until a 4 ft. dossier was assem- Fired by flashlight batteries and equipped made, but Khokhlov was forced to cool bled and they were satisfied that what the with expansion chambers to absorb the his heels in Moscow for almost a month ex-MVDemon told them was the truth- shock wave, they were almost noiseless, because the -Berlin Conference was going as far as it went. and each was equipped to fire three kinds on, and Moscow wanted no untoward There were still, however, some blank of bullets: small lead pellets for merely incidents. At last, however, the day was spaces in the Khokhlov case. Few compe- stunning victims, nickeled-steel bullets set, and Khokhlov set off for Frankfurt tent observers, for instance, could bring ri that proved capable of L__t ' enetrating 2 ;,, not to k;n hi m p s to THE FRONTIER OF HATRED Trouble Gathers on the Arab-Israeli Border A British royal commission investigating the struggle be- We moved on to Schiff's house, where he told me his story: tween Arab and Israeli 17 years ago arrived at a tragic "My father and brother died in Auschwitz. My mother and E conclusion. "Fundamentally," said the Peel Report of 1937, survived in Budapest because we forged identity cards that. "it is a conflict of right with right." Last week-one world made us into Christians. My wife comes from Rumania. Her war and one local war later--the judgment was still valid. six brothers and sisters were also killed. We passed through The Jews were right, because 4,000 years ago the narrow man)' hardships, but now we have a cow, 250 chickens, a strip of Palestine, where 1,670,000 today carve out their kerosene stove and seven acres, and two children. We have earthly Zion, became the cradle of their culture and religion. found our place . . . Nothing can move us from here." The Arabs were right, because for more than i,ooo years the Much of Israel is like Mishmar Ayalon-an armed frontier land had been theirs. land where the settlers live in constant dread of a shot, a raid, The Arab-Israeli war, which the Arabs lost but the Jews a sudden grenade. The danger breathes down your neck as you did not win. ended only on paper. In five years of truce, some drive to Jerusalem through a road cleft into a gorge, under 500 Israelis and an uncounted number of Arabs have been the eyes and weapons of Jordanians perched on the hills. You killed or wounded in fierce border clashes which the U.N. and feel it on the narrow-gauge railway that winds into the city its armistice teams are powerless to prevent. Some in recent alongside Jordan territory so close that sunflower seeds spat months have assumed the gory proportion of massacres- from the train windows fall onto Arab soil. Where Jordan Kibya last October, when Jews killed 53 helpless Arabs, Scor- bulges westward, the Israeli beachhead is barely eight miles pion Pass last March, when Arabs slew eleven helpless Jews. wide. It takes less than 20 minutes to drive from Tel Aviv on But those are only larger. remembered episodes in a situation the Mediterranean to the Jordan border. that is worsening rapidly. Last week TIME correspondents This fact dominates Israel. "If we retire ten miles," said concluded tours on opposite sides of the border -between one Israeli general, "we're in the sea. If we move back Soo Israel and Jordan. yards in Jerusalem, we give up our Knesset [the Parliament]. We must hold the border, yielding not an inch." From the Israeli side, Contributing Editor Sam Halper At Kfar Saba, a stone-and-stucco frontier outpost twelve cabled: miles from Tel Aviv, the border runs through tangled orange As night fell on Mishmar Ayalon, a frontier settlement groves. Almost every night Arab infiltrators flit from tree to which stretches to the Jordan wire, 20 miles northwest of tree, and so across. the border, to steal and destroy. Some of Jerusalem, a tired, unshaven man, coated with the dirt of the the intruders are harmless: they come to visit Arab relatives field, picked up his Sten gun and climbed to the roof of his left on the Israeli side, or to steal a - bag of oranges from house. The village generator, silent all day to save fuel, groves that were once their own. But in the past month the started to put-put, and 73 floodlights splashed light across settlers of Kfar Saba have lost six cows, seven mules, three the rocky fields. So began another night in the siege without horses and three donkeys. respite. that has been going on for five years. The commander ofKfar Saba is a mild-looking young man The man on the roof peered towards the rude enclosure named David Tryfus, 29, the son of a German physician. He where the village's sheep were penned. He was the shepherd is responsible for the ten-mile strip of border running north of Mishmar Ayalon, and the Sten gun his crook. Since 1951, and south between the Arab towns of Qalqiliya and Tulkarm. six of Mishmar Ayalon's` men had been killed by bullets out At night he called his patrol to attention, and pointed to a of the night. The villagers took to arms and appointed as their map marked with red lines that showed the infiltrator routes. captain Shinuel Schiff, a wiry youth with a hussar mustache. "We ambush here tonight," he said. One night I joined Shmuel Schiff as he made his watch- With Tryfus' patrol, I rode off in an armored halftrack, man's rounds. We stumbled through the dark across whirls of preceded by a jeep. The jeep's probing searchlight scanned rusty barbed wire, past shoebox houses pock-marked with bul- the countryside. "Keep your heads down," said Tryfus as we let holes. He poked his pistol at the heavy-meshed Windows, approached a railroad bridge. Twice in the past year it had to make sure that they were strong enough to keep out hand been mined. We waited for a train to pass, climbed aboard a grenades. A rifle barked in the distance. We turned about at gasoline-driven "handcar" and rolled down the track to in- the end of the village near an abandoned house. A widow had spect the railroad line. Suddenly, in the darkness, a pink flare lived there until one morning last June, when three men leaped. We stopped and found a land mine, planted on the poked dynamite underneath the floor and blew her to pieces. rails after the last train passed just a few minutes before. U N offi ers t k d th kill t . . c rac e e ers to he Jordan border. The patrol unlimbered its Bren guns and disappeared into Approved For Release 2004/03/11 : CIA-RDP58-00597A000100240103-3 TIME, MAY 3, 1954 sci i cc was his only reason for defecting. ( I J e, 1 the defection of Khokhlov in West Ger- t a O om or o e~ et ov in Australia are 14r R~e$PRf~A4 41 a 1 -0 ft m Wt Washington Evdokia Petrov, another fugitive from the sources hint that, there are others, Try as Russian secret police system, was at last it may, Communist propaganda cannot reunited with her husband. But the rever- mutter a simple "good riddance's at the berations of her dramatic, eleventh-hour defections of such people. They know too escape from the agents of the MVD who much. Evdokia Petrov was not just a tried to carry her back to Russia (TIME, spy's wife. As an expert code clerk in her April 26) echoed and re-echoed through husband's espionage apparatus in Austra- Petrov, like the others of lia's Russian m the world. Mrs. who have defected in recent From Moscow she knew secrets. scow itself last week came a weeks, is no ordinary refugee from Com- suggestion of panic. Three days after Mrs. munist tyranny. Petrov was rescued from the Russians at Black Smoke. Ever since the execution Darwin, the Russian government abruptly last year of the MVD's pasty-faced boss, severed diplomatic relations with Austra- l ' Lavrenty Beria, there have been reports lia. In one breath, the Russians accused of trouble within the MVD itself. The the Australians of "slander" for calling surrender to the West of an MVD agent, Petrov a spy, and in the next, demanded Yuri Rastvorov, in Japan last January, his immediate return as a swindler and might have provided a further reason. Then there was the still unanswered ques- tion of what would now happen-or had already happened-to his wife Yanina in Moscow. Khokhlov himself seemed to have a strange faith in what U.S. moral pressure might do to save her. "I came here," said Nikolai Khokhlov to the American reporters, "not merely to tell you of an assassination that didn't take place, but to appeal to the one remaining force capable of saving my wife-this woman who told me, `Do not kill."' Could an agent of the Soviet MVD seri- ously believe that such force could be of help to her now? Whistler Khokhlov was the night in the direction of the Jordan border. Soon the men came back with a prisoner. He was an Arab of medium height, and he tried to make himself smaller by pressing his hands against his belly. The Israelis searched him roughly, and one of them thrust the snout of a Tommy gun into his stomach. He made a noise like a wounded animal. Then Tryfus tried to thrust the land mine into the prisoner's hands. Thy Arab shrank back, and Tryfus laughed grimly. "He knows nothing." mimicked one of the policemen. "They never know anything . They steal and kill but when we capture them they are babies born yesterday." By dawn we were back in Kfar Saba, sipping glasses of tea. Almost time for the watchman to go to sleep and for the rest of Israel to rise and work. But how long can the Israelis go on this way? In the years since the fighting was officially declared over, they have not dared to fill in their trenches or coil their barbed wire. The direct cost of the peacetime raids has been $4,500,000, the indirect cost incalculable. Instead of bleeding to death in a thousand places, as her enemies hope she will, Israel is growing bellicose. Increasing numbers of Israelis see no chance of a permanent settlement unless their army wins it for them. Says a top Israeli general: "Only by making the Arabs realize that if they press hard they will be met with another Kibya can we deter them .. . We must adopt an aggressive posture." From the Jordan side, TIME'S Middle East Correspondent Keith Wheeler reported: The Arabs feel the same way. One windy morning I drove to the Jordan village of Husan, which is less than a mile from the frontier. All of Husan's 1,200 inhabitants were gathered gravely, a little proudly, in the muddy village square. The Jews had attacked Husan the night before I arrived, and Husan's home guard had helped to give them a bloody nose. Now the whole village was assembled, waiting for the U.N. armistice team to piece together the Arab version of the attack. A young lieutenant in the red and white headgear of Jor- dan's Arab Legion had charge of the evidence: a scattering of spent .3o-caliber cartridges with Israeli markings; a demoli- tion charge, an empty morphine syrette, several deposits of dried blood, and-out in a wheat field on the south side of the village-a crushed-down trail through the wheat where something heavy and inert, like a body, had been dragged away in the direction of the Israeli border. "We got this one with the Bren gun," the lieutenant said proudly. "It was about 10:45 p.m. when they came. My sentries heard them moving about in the rocks, so we opened fire .. . "They replied with so much fire so fast, and so many gre- nades, that at first I pulled back my men behind the village walls. Then the Arab Legion got here-they made it in 15 minutes. The Israelis pulled out some 45 minutes later. We heard one of them yell when he got hit . . ." "Suppose they come back?" I asked the young lieutenant. "They'll be welcome," he snapped, staring westwards across the demarcation line towards the squat Israeli barracks at Camp Opper, less than a mile away. But the lieutenant's jaunty confidence was tinged with apprehension, for everyone in Husan knows that it takes almost no effort-only the desire-for the Jews to come again any night they choose. Next time Husan might not escape unscathed. This knowledge, and the brooding conviction that the will to attack is mounting in Israel, has made Jordan's frontier villages especially pleased of late to be host to a small, urbane Englishman who is a man of distinction in this part of the world. He is Major General John Bagot Glubb, 57, the small, grey-haired commander of the Arab Legion, who is known across the desert as Abu Huneik (father of the small jaw) in tribute to the disfigurement he bears as the result of a World War I bullet wound in the face. Glubb Pasha's personal plane flies daily from Amman (pop. 200,000), the capital of Jordan, to Jerusalem, ostensibly to enable Abu Huneik to visit his aged mother, sick in her Jerusalem home. But Glubb is more often in the field than in Jerusalem. With his distinctive cavalcade (two jeeps and a tan staff car crammed with Arab Legionnaires) he bounces from village to village along the frontier, and everywhere he stops, an impromptu majlis (as- sembly) forms to discuss the defense of the border. Abu Huneik knows how to talk to the Arabs. Though he Often reads the lesson in the Anglican church at Amman, he still carries in his right hand the prayer beads which Moslems use to calm their nerves and count their petitions to Allah. Outsiders are not welcome at. Abu Huneik's talks, but the word leaks out that what he is saying goes like this: "The Jews mean to attack us. Geography shows that they have got to widen their waist by straightening out the bulge we make into Israel. They have got to shove Jordan back. And one way or another, they mean to do it." Jordan's only military resource is Glubb's Arab Legion: 20,000 men. But against a growing Israeli army, whose officers hope will one day number 250,000 men, even Glubb admits that "we must have outside help." Where is the help to come from? Glubb seems to imply that the British army, about to evacuate Suez, might be pleased to reinforce Jordan, in return for base facilities. Many Jordanians agree. Seated on a golden throne in his white stone palace at Amman, 2o-year-old King Hussein told me recently that military aid from Britain "is now under discussion, and we believe these contacts will pro- duce good results." The sad fact is that there are people on the Jordan side who still dream about renewing the war. Defeat and injury in 1948-49 left many Arabs with a sick and shamed desperation, and they see no hope of recovery except by force of arms. Both sides have their war parties, and if the border killings continue, the moderate men may break. You have only to watch the daily mounting tension to become gloomily con- vinced that sooner or later, one incident or another is going to touch off an explosion. No border built so largely on fear TIME, MAY 3, 1954 Approved For Release 2004/03/11 : CIA-RDP58-00597A000100240103-3 29 &001 Q0240103-3 Bevan has postponed-possibly forever his own chances of succeeding to the Socialist leadership." "It is the future existence of the party itself which is at stake," said the Times in alarm. If Bevan could swing the party to support "a Brit- ish neutralism" between the U.S. and ?Consolidated Press MRS. PETROV & RUSSIAN ESCORTS AT SYDNEY Spines crawled, chimneys belched. embezzler. Unable to get back the docu- ments delivered to Australia by Petrov, the departing staff at Canberra's Russian embassy spent their last hours getting rid of other information that might prove valuable to the West. Black smoke belched from the embassy chimneys as files went into fireplaces, and on the em- bassy lawn a Russian stood guard with a hose over a bonfire, not hesitating to turn a full stream of water into the face of any snooper peering through the hedge. In Moscow the Russians held up the depar- ture of the Australian embassy staff, after first ordering them out of the country within three days. Topical Knowledge. In Washington, the spines of those who once rubbed shoulders in the diplomatic corps with former Russian Ambassador Alexander Panyushkin crawled slightly at the news that he was now the efficient chief of MVD's assassination department. To Washingtonians who had found the am- bassador's stilted conversation pedestrian to the point of boredom, it was cold com- fort to realize that they had merely seized on topics that failed to interest him. On the right subject, apparently, Panyushkin could be fascinating. "He is a clever and attractive person," said ex-MVDman Khokhlov in Bonn last week, "and he knows how to explain to you the right way to kill a man with poison bullets." GREAT BRITAIN When in England To the average Briton, a U.S. soldier off duty is often a pretty overwhelming sight. Lounging on a street corner in blue jeans and a garishly patterned leather windbreaker, the hairs on his chest peep- ing slyly out of the deep cleavage of an open-necked sport shirt, the out-of- uniform G.I. is an equally distressing sight to more soldierly U.S. noncoms. Last week, as part of a general effort "to improve relations between us and the British," Colonel G. F. McGuire, dep- uty commander of the Britain-based U.S. Third Air Force, ordered airmen of his command to modify their off-duty garb "in accordance with local custom." The only exception: attendance at such all- American affairs as ball games. There, zoot suits, Harry Truman shirts and other native costumes may still be worn with- out penalty Those Lovable Communists Harry Pollitt, the thick-jowled boss of Britain's Communist Party, might be pleased with Communist triumphs else- where, but he was worried about the par- ty's declining membership in Britain. Ad- monishing the 65o delegates to the Brit- ish party's 23rd national congress, Pollitt said last week: "It is high time that we stopped creating the impression that does so much to frighten other people from joining the party, that we are some kind of human beings who never eat, sleep, play, dream or even make love." Who Follows the Whirlwind? A police summons was issued for Aneurin Bevan, charging him with dan- gerous driving and failure to stop after an accident. The accident, near London, was a minor affair, but it was not the only charge of recklessness made last week against Nye Bevan. Commentators and columnists, Con- servative or Socialist, everywhere con- demned the manner, and frequently the matter, in Bevan's abrupt split with Labor Party Leader Clement Attlee (TIME, April 26) over approval of German rearmament and of U.S. leadership in world politics. Admitted the leftist New Statesman & Nation: "By this impulsive gesture, Mr. Russia, "the leadership would be his re- ward," noted the Manchester Guardian, "but there is nothing more improbable in politics than that Mr. Bevan will suc- ceed." Bitterest of all was the Laborite tabloid Daily Mirror (circ. 4,500,000): "Again he has shown that the greatest blunder the party could make would be to elect him leader . . . For who can follow a whirlwind? How can a man who does not give loyalty expect to command loyalty from others?" But there was also evidence that Nye had struck a popular chord among the. millions of Britons who fear Germany, resent the U.S. and think that the Com- munists would behave better if not antag- onized. Nye's opposition to German re- armament was supported 2 to i by the convention of the Cooperative Party, which controls 18 Labor seats in Parlia- ment, by delegates of Britain's sixth largest union, and by the Labor Party of Northern Ireland in convention. Many such voters would follow Nye Bevan on no other issue. But Bevan was quite happy to claim them all. Politically, his driving might be dangerous, but it was no accident. Errand of Mercy The fear of fire in the nursery had long haunted Freda Holland, 41, a night nurse at Reading's Dellwood Maternity Home, 36 miles west of London. Early on Easter Sunday, it rose to grip her heart in panic as she opened the door behind which lay her newest charges: 15 babies, none more than nine days old. The room beyond was filled with smoke; flames licked through the floor amid the cribs, and one baby's bedding was already taking fire. Sister Holland screamed for help and rushed into the ward. Another nurse came to help, but they were both too late to save little Christopher Boulton, aged six hours, who lay in the smoldering bed. He died in Nurse Holland's arms as she carried him from the room. Trying to beat down the flames with her nurse's cap, Sister Holland went on to pluck the other babies from their cribs, one by one, and hand them to Sister Mar- garet Thomas at the door. When the last of the 14 was rescued, she collapsed. She was taken to Battle Hospital near by, where she lay in a coma while doctors did their best to graft new skin on her se- verely burned arms and face, and baskets of flowers from grateful parents were car- ried in. That night, in the same hospital, two of the rescued babies died from smoke poisoning. Two others died in Dell- wood. Next day, despite desperate treat- ment with oxygen and penicillin, four more of the babies died. One by one, as the hours wore by and mothers prayed and doctors worked, the other victims of 30 Approved For Release 2004/03/11 : CIA-RDP58-00597A000100240103-3 TIME, MAY 3, 1954