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The behind-the-scenes story of the quintessential film noir and cult classic, Billy Wilder’s Double Indemnity—its true crime origins and crucial impact on film history—is told for the first time in this riveting narrative published for the film's 80th anniversary. From actual murder to magazine fiction to movie, the history of Double Indemnity is as complex as anything that hit the screen during film noir’s classic period. A 1927 tabloid sensation “crime of the century” inspired journalist and would-be crime-fiction writer James M. Cain to pen a novella. Hollywood quickly bid on the film rights, but throughout the 1930s a strict code of censorship made certain that no studio could green-light a murder melodrama based on real events. Then in 1943 veteran scriptwriter and newly minted director Billy Wilder wanted the story for his third movie. With tentative approval from the studio he hired hardboiled novelist Raymond Chandler to co-write a script that would be acceptable to industry censors. Director Wilder then cajoled a star cast into coming aboard: the incomparable Barbara Stanwyck in her unforgettable turn as the ultimate femme fatale; alongside Fred MacMurray, going against type as her accomplice; and Edward G. Robinson as a dogged claims investigator. Wilder kept Chandler on for the entire shoot, and other key collaborators were cinematographer John Seitz, costume designer Edith Head, and composer Miklôs Rôzsa. With all these talented contributors, the final film became one of the earliest studio noirs to gain critical and commercial success, including being nominated for seven Oscars. It powerfully influenced the burgeoning noir movement, spawned many imitators, and affected the later careers of all its cast and crew. Double Indemnity’s impact on filmmakers and audiences is still felt eight decades since its release. Authors Alain Silver and James Ursini tell the complete, never-before-told history of writing, making, and marketing of Double Indemnity in their latest and most provocative work on film noir: From the Moment They Met It Was Murder.
Sheri Chinen Biesen challenges conventional thinking on the origins of film noir and finds the genre's roots in the political, social and historical conditions of Hollywood during the Second World War.
An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels. Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas Includes contributions from both established and emerging scholars
Taking issue with many orthodox views of Film Noir, Frank Krutnik argues for a reorientation of this compulsively engaging area of Hollywood cultural production. Krutnik recasts the films within a generic framework and draws on recent historical and theoretical research to examine both the diversity of film noir and its significance within American popular culture of the 1940s. He considers classical Hollywood cinema, debates on genre, and the history of the emergence of character in film noir, focusing on the hard-boiled' crime fiction of Dashiell Hammett, Raymond Chandler and James M. Cain as well as the popularisationof Freudian psychoanalysis; and the social and cultural upheavals of the 1940s. The core of this book however concerns the complex representationof masculinity in the noir tough' thriller, and where and how gender interlocks with questions of genre. Analysing in detail major thrillers like The Maltese Falcon, Double Indemnity, Out of the Past and The Killers , alongside lesser known but nonetheless crucial films as Stranger on the Third Floor, Pitfall and Dead Reckoning Krutnik has produced a provocative and highly readable study of one of Hollywood most perennially fascinating groups of films.
For the classic movie fan and the die-hard film noir junkie, Noir is My Beat gives you hundreds of film noir brainteasers. Test your smarts with quotations, questions and little known facts about the movies, stars, writers and legends of film noir. Noir is My Beat is an enjoyable and revealing look at the world of classic film noir. In addition to oodles of trivia, this book provides a comprehensive listing of films from the era that introduced film noir to the world.
Like other fictional characters, female sleuths may live in the past or the future. They may represent current times with some level of reality or shape their settings to suit an agenda. There are audiences for both realism and escapism in the mystery novel. It is interesting, however, to compare the fictional world of the mystery sleuth with the world in which readers live. Of course, mystery readers do not share one simplistic world. They live in urban, suburban, and rural areas, as do the female heroines in the books they read. They may choose a book because it has a familiar background or because it takes them to places they long to visit. Readers may be rich or poor; young or old; conservative or liberal. So are the heroines. What incredible choices there are today in mystery series! This three-volume encyclopedia of women characters in the mystery novel is like a gigantic menu. Like a menu, the descriptions of the items that are provided are subjective. Volume 3 of Mystery Women as currently updated adds an additional 42 sleuths to the 500 plus who were covered in the initial Volume 3. These are more recently discovered sleuths who were introduced during the period from January 1, 1990 to December 31, 1999. This more than doubles the number of sleuths introduced in the 1980s (298 of whom were covered in Volume 2) and easily exceeded the 347 series (and some outstanding individuals) described in Volume 1, which covered a 130-year period from 1860-1979. It also includes updates on those individuals covered in the first edition; changes in status, short reviews of books published since the first edition through December 31, 2008.
This revised and expanded edition of Eddie Muller's Dark City is a film noir lover's bible, taking readers on a tour of the urban landscape of the grim and gritty genre in a definitive, highly illustrated volume. Dark Cityexpands with new chapters and a fresh collection of restored photos that illustrate the mythic landscape of the imagination. It's a place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life. Eddie Muller, host of Turner Classic Movies' Noir Alley, takes readers on a spellbinding trip through treacherous terrain: Hollywood in the post-World War II years, where art, politics, scandal, style -- and brilliant craftsmanship -- produced a new approach to moviemaking, and a new type of cultural mythology.
Based on the Turner Classic Movies series, TCM Underground is the movie-lover's guide to 50 of the most campy, kitschy, shocking, and weirdly wonderful cult films you need to see. In the pages of this book, you'll explore this unique order of films—primarily from the 1960s, '70s, and '80s—with insightful reviews, behind-the-scenes stories, subgenre sidebars, and full-color and black-and-white photography throughout. Go along for the ride with new takes on crime films, including The Honeymoon Killers and The Harder They Come. Witness one-of-a-kind horror in Bill Gunn's landmark vampire film Ganja and Hess and Nobuhiko Obayashi’s infamous and indescribable Hausu. Absorb the boundary-pushing documentary-style trilogy The Decline of Western Civilization, which throws you into indelible moments in the punk and metal music scenes. And marvel at pure '80s oddities like Mac and Me and The Garbage Pail Kids. From Possession to Polyester and Beyond the Valley of the Dolls to Xanadu, no two films are alike in this compendium. Just sit back and prepare to be surprised, amused, and entertained by this celebration of the stars, filmmakers, and stories behind fifty of the most beguiling and unforgettable movies ever to hit the screen.
Not Another Murder. A question? A statement? Or the despairing sigh of a monk convinced that Death's scythe must have caught in his habit? Escape from Gernesey and a return to Derby is on everyone's mind, but events have spotted Brother Hermitage, and they're up to their usual tricks. This time, they've put him in a priory. What could be better? And what could possibly go wrong? The cloistered life has called him back and so all will be well. There will be no murder here, even though he's the King's Investigator. No one will die, ignoring the deaths that seem to follow him around. And anyway, this is only temporary. There won't be time for anything untoward to happen. Brother Hermitage hasn't been reading his own chronicles, has he? While Wat and Cwen try to make the best of things and work out who to bribe to get out of this place, Hermitage doesn't even make it through the first night before the body turns up. How it was done is a complete mystery, never mind why. And there is certainly something odd about this priory and its monks, who don't seem at all concerned that one of them is now dead. But a route off the island quickly opens up before them, and so there might not be time to solve some murder. With any luck, they'll be miles away before long. All they need is some money; considerably more money than they currently have. That priory seemed to have a lot of treasure... Embark on Chronicle number thirty-two, and your mind will be filled with wonder. (Wondering why, mainly.)
I existed for you but never lived for you again… I loved Ishaan and I tried everything possible to keep him happy but, keeping him alive and away from this tragedy was something even I could not be successful in! He was desperately tortured day and night this day onwards and saw himself at a place where within only the demons watch the world and dream of ruling it when the fact is every single one of them is supposed to suffer the same fate which is the reciprocated hell all of us tend to avoid. What Ishaan did later was something obnoxious and needed! He tried everything he could but could not let his body be at rest only to realize that his life was meant for something different than the rest. Not something fruitful, not something filled with happiness but something filled with the nausea of vomiting every memory he owned of his bride, in every split second he survived thereby, witnessing the ones he loved leave him at a bay from where God seemed non-existent and love seemed a complete doomed priority. His end was always near and unfortunately never dared to face him for the monster he became within himself if not for others. Love was a mere nausea for him now and he hated it not because he lost in his journey of love but because he always considered himself at fault for everything that happened thereby.. Wish he could change his life but now all that remained was something about which everybody was unaware of except one, one who knew everything but still was helpless to do anything about it! I am Soumya Jha, Ishaan’s unwanted love…