Dark Passage

E:
The last of the Bogey & Bacall onscreen pairings, Dark Passage is an interesting entry into the film noir canon. Bogey plays Vincent Parry, a man escaped from San Quentin to find the real person behind the crime for which he was committed - murder. Bacall plays a woman who helps him along the way.
The first third of the film is shot in first person point of view. A novel new method in the 40s. Now it looks like a gimmick. Once the camera shifts to a narrative function, the film gets better. Overall it isn't Bogey's best, but there are a few twists that surprised me, especially that window - whoa! But really...you can't go wrong with a Bogey moobie.

The Way Home

E:
G had seen this years ago and wanted me to check it out, so I netflixed it. It's about a young boy from the city forced to spend some time with his grandma out in the country. He brings his gameboy and robot toys - she lives out on a farm in the middle of nowhere with no running water and no electricity.
First of all, this kid is a major brat. Unforgivably ungrateful, self-centered and full of false pride. If G hadn't been the one to suggest I watch this, I would have turned it off half-way through. Second, the grandmother is far too passive, letting the boy talk smack to her, steal her few possessions, and allowing him to continue his ungrateful ways.
In the end, he does learn some gratitude and love but I don't feel like there was enough redemption to make the moobie worthwhile.

Laura

E:
Starring Gene Tierney, this Oscar winning (for best cinematography) film noir classic is credited to Otto Preminger. Apparently somebody named Rouben Mamoulien started the picture, but some behind the scenes shenanigans nipped him in the bud. And watching the special features about Gene's life...man! She led a tragic existence.
The film starts with police detective Mark McPherson investigating Laura's murder. Through flashbacks we get to know her, and through the memory lenses of her various beaus we see that she was very deeply loved.
The more McPherson learns about her, the more he too becomes enamored with her.
Then she turns up.
It's a good twist for this moobie.
Together, McPherson and Laura piece together who was actually murdered and who committed the crime.
I've been on a film noir kick lately (it rears its head periodically for me) and this one didn't disappoint. The femme fatale, the chiarascurro lighting, the cop, the fedoras, the dialogue...it takes me back to a time to which I have no real experience - I wasn't born until the '70s. But the distinct lines of masculinity and femininity are very appealing. The conviction with which these characters conduct themsleves is such a far cry from the ambiguity of the '00s.
Murder is a line that shouldn't be crossed but sometimes someone oversteps that boundary in the name of love. The reasons behind crimes of passion always run deeper, and sorting out the intriguing mess can be absolutely riveting.

This Gun For Hire

E:
A film noir classic. We Netflixed this one to watch more Veronica Lake and she delivers. This picture has two main plots that intersect. Alan Ladd plays Raven, a hitman. After being double-crossed by the man who hired him - he hunts him and his boss down. Meanwhile, Lake plays Ellen, a girl hired by the double-crosser to entertain the boss. Ellen and Raven meet on a train. He takes her hostage to aid in his escape from the police (one of which happens to be Ellen's boyfriend).
I love the hard-boiled attitude. Alan Ladd plays it straight and cool the entire time. And Veronica Lake is no slacker. She plays it just cool.
I think the big boss rolled over too quickly near the end, but all in all it makes for a great popcorn picture.