Tag: film noir

Staff Pick: “House of Games” (1987) is a Neo-Noir Classic

Screenshot House of Games 1987

“House of Games” is a hidden gem. Written and directed by David Mamet, this low-budget film was released in 1987 to positive reviews, but only managed to earn about $2.6 million at the box office.

The film is a neo-noir thriller about a prominent psychiatrist and author (Lindsay Crouse) who becomes involved with a group of con artists led by a shadowy figure named Mike (Joe Mantegna). The film is loaded with twists and turns, and saying anything more about the plot would spoil the film. Crouse and Joe Mantegna are brilliant in the lead roles, and the cast is filled with talented character actors including Mike Nussbaum, J.T. Walsh, Ricky Jay and William H. Macy. Mantegna was born to play this role. His performance seems so effortless. Meanwhile, the film wouldn’t work without Crouse’s impressive performance.

The neo-noir genre in film is a contemporary revival of the film noir genre, which was popular in Hollywood during the 1940s and 1950s. Film noir is characterized by its dark, moody, and often cynical tone, as well as its focus on crime, corruption, and the seedy underbelly of society.

Neo-noir films, on the other hand, are typically made in a more modern era and reflect the social and cultural changes that have occurred since the original film noir period. Neo-noir films often feature similar themes and motifs as traditional film noir, but they may incorporate new elements such as more complex characterizations, non-linear narratives, and new visual and stylistic techniques.

Some common elements of neo-noir films include morally ambiguous characters, femme fatales, urban decay, and a general sense of disillusionment and despair. Neo-noir films often feature complex and convoluted plotlines, as well as an emphasis on mood and atmosphere over traditional plot development.

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Movie Flashback: “Blood Simple” (1984)

Blood Simple - Frances McDormand scan 640

It’s been over 35 years since the release of “Blood Simple,” a film noir classic where we were introduced to the brilliance of the Coen Brothers as a director/producer team. It’s now streaming on HBO and is definitely worth your time. If you’ve seen it before, you’ll know this film is always worth a re-watch. And for newcomers you’ll get to see many of the techniques the Coen brothers used throughout their amazing career.

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Whedon Remakes Shakespeare As A Film Noir

If you’re like me, you were counting down the days to Joss Whedon’s latest release, a stylistic adaptation of the Shakespeare play Much Ado About Nothing. Whedon’s previous works include Buffy: The Vampire Slayer, Angel, the cult sci-fi show Firefly (and its movie counterpart Serenity), and most recently The Avengers. His ability to transect genres is only as impressive as the fan base he’s acquired, so it shouldn’t come as a surprise that his version of Shakespeare contains the same wit and casual humor as his previous works.

Filmed over the course of 12 days during a hiatus he had while filming The Avengers, Much Ado About Nothing was shot entirely in black and white at his own California residence. Fans of Whedon will recognize the majority of the cast from some of his previous works, including Sean Maher and Nathan Fillion (Firefly, Serenity) and Amy Acker and Alexis Denisof (Buffy, Angel). The difficulty in transposing a play into a film format is easily resolved through Whedon’s characteristically sharp cinematic eye. The acute angles, creative uses of shadow, and the chiaroscuro lighting give a notably noirish feel to the film, which is compounded by an exemplary performance by all the actors.

The plot follows the imminent marriage of two young lovers and the nefarious scheme of Don John (played by Sean Maher) to break it up. But layering this domestic conspiracy is the sharp-tongued witty back-and-forth interplay between the main protagonists, Beatrice and Benedick (Amy and Alexis reprising their romantic affiliations from Angel).

The choice to shoot in black and white is an interesting one considering many films are wary of it. The lack of color means that increased focus has to be put on the composition of each shot, and yet Whedon somehow pulls it off, with all the dramatic irony of the original play intact. The shot where Amy Acker as Beatrice is hiding under a kitchen counter in plain view of the maid and her cousin Hero as they talk about trying to set her up with Benedick is a perfect example – all the tension of the play is retained, and yet we buy the improbability of some of the scenes.

The other risk of adapting Shakespearian plays is to be able to convey it without it sounding overly contrived or poetic. Much Ado About Nothing is one the more prosaic plays Shakespeare wrote, but the iambic pentameter still lends itself to a pleasant cadence, and some of the exchanges between Benedick and Beatrice are both organic and believable.

There is a charm in this adaptation that goes beyond its attempt to stay true to the original play and yet give it a decidedly modern-day setting – the Victorian sentiments regarding love and relationships, although perhaps not as prevalent today, still seem to hold some sway in terms of a social commentary. The superficiality of our definitions, and the games we play, are being ridiculed, and yet also acknowledged for their role in helping us come to terms with how we truly feel. It’s a juxtaposition which feels as true now as it probably did several hundred years ago.

Simon is a writer and content specialist who is addicted to being on the front page of anything. A graduate of Dalhousie University, he specializes in using the em dash too often. Currently, Simon rests his typing hands in Vancouver, Canada. Check out his recent thoughts on gaming.

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