The Long Goodbye

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The Sin City movies are remakes. Not of other movies, but of the comic books they’re based on. Before you argue that this means they’re “adaptations,” not “remakes,” let me explain. More than perhaps any other comic book movies, these are so faithful in style to the source that they’re redundant. They’re just like the old cartoons we watched as kids that took children’s books, lifted the pictures right off the page and animated them. Now we see a lot of that done in documentaries about artists, such as the recent one on Ralph Steadman. The main difference is that Sin City and Sin City: A Dame to Kill For use actors in a sort of moving tableau vivant recreation of Frank Miller‘s drawings, panel by panel — or shot-for-shot. Another thing the Sin City movies are, of course, is a series of film-noir-influenced anthologies that are far more violent and explicitly sex-filled than any true entry into the classic film genre. Unless you want to count all the remakes of films noir that came about in the ’70s, ’80s and ’90s, when Hollywood realized they could recycle a lot of golden age works for a new cinematic era, post-Hays Code, allowing for graphic violence and, more importantly, graphic sex and nudity. Sin City: A Dame to Kill For is likewise noted for its nudity, nearly every review pointing out how naked Eva Green is in the movie — not a surprise given that the original, banned poster depicted the actress in a fairly revealing […]

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ForgetIt

There were so many great crime movies that came out of the ’70s that it would be something of an endeavor to compile a list of the best. But chances are, if you had a bunch of people get together and do just that, Chinatown would be near the top of most of them. This modern take on classic noir is beloved to the point where it’s the sort of thing that gets studied in film classes, and it’s not hard to see why. It’s got iconic moments, a legendarily despicable villain in land developer Noah Cross (John Huston), Jack Nicholson giving a solid leading performance that isn’t as showy and distracting as his later stuff and it’s put together by the trained eye of a master director. But it also has a number of readily apparent flaws that make it questionable as to whether or not it should stand shoulder to shoulder with the greatest movies in cinema history, as many people claim that it does. Another great crime film from the same era is The Long Goodbye, a sort of subversion of the noir genre that embraces its tropes but updates its setting to the laid back, alternative medicine-embracing culture of early ’70s Los Angeles. Unlike Chinatown, this isn’t the sort of film that has grown in popularity over the years. It has its fans, and it might show up on some of those “Best of the ’70s” lists if the people you’re surveying are big into the […]

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Every day, come rain or shine or internet tubes breaking, Film School Rejects showcases a trailer from the past. This trailer is hunting down a man while working on its Barbara Stanwyck impression. Robert Altman displays his mastery of subtle comedy alongside the dark mystery and murder of classic noir. The movie begs the question of whether killing your wife or stealing someone’s money is the bigger crime. Think you know what it is? Check the trailer out for yourself:

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Criterion Files

Just as film noir isn’t one single definable thing, noir itself contains many offshoots and categories. And every Noirvember, it’s important to not only examine good ol’ film noir, but its corresponding variants as well. One aspect of noir that complicates its designation as a genre or a style is the persistence of neo-noir, a cinematic form that arose in direct reaction to noir. In the US, canonical neo-noirs include films like Roman Polanski’s Chinatown or Robert Altman’s The Long Goodbye. These were films made by filmmakers who knew cinema’s history, who have seen and studied noir’s origins and staples. These were filmmakers who worshiped film history and used classic cinema as a prototype for their own creation, embedding references to the old while departing from it in creating the new.

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If there’s one thing I love more than seeing a great movie for the first time, it’s sharing a movie that I find great with someone whom has never seen it before. It might be part of something essential in human nature: a desire to share an experience that one finds profound with those whose opinion you trust and value. Whether it be something intensely moving, shockingly original, incredibly interesting, intellectually challenging, or unprecedentedly hilarious, introducing a valuable cinematic experience to a friend can induce the most rewarding of feelings for the cinephile.

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Movies We Love: The Long Goodbye

Snarky, unlit-cigarette-gritting Private Detective Philip Marlowe is visited late one night by an old buddy, Terry Lennox, who asks Marlowe, without explanation, to drive him to Tijiuana.

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SebastianGutierrez

We wanted to get inside the mind of director Sebastian Gutierrez by finding out his Top 5 films, and he somehow managed do so while naming over a dozen other films. From Bunuel to Gilliam, find out who inspires one of the weirder writer/directors out there.

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