Appendix: International Film Noir Classic Period (Selected Titles)
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Appendix: International Film Noir Classic Period (Selected Titles) French pre- and post-war film noir 1930 La petite Lise 1931 Autour d’un enquête Dainah la métisse La Chienne Tumultes 1933 La Rue sans nom La Tête d’un homme 1934 Toni Le Roi des Champs-Élysées 1935 La Bandera Le Crime de Monsieur Lange Crime et châtiment Le Golem 190 International Film Noir Classic Period 191 1936 Les Bas-fonds La Belle équipe Le Chemin de Rio Jenny Pépé le Moko 1937 L’Affaire Lafarge L’Alibi 1938 La Bête humaine L’Étrange Monsieur Victor Hôtel du Nord Le Quai des brumes 1939 Le Dernier tournant Le Jour se lève Pièges 1941 Remorques 1943 Lumière d’été 1946 Panique Les Portes de la nuit 1948 Au-delà des grilles Pattes blanches 1950 Manon 192 Appendix 1953 Thérèse Raquin British film noir 1936 The Thirty Nine Steps 1939 I Met a Murderer 1942 Went the Day Well? 1945 Waterloo Road 1947 Brighton Rock It Always Rains on Sunday Nicholas Nickleby Night Beat Temptation Harbour They Made Me a Fugitive 1948 Blanche Fury Fallen Idol Good-Time Girl No Orchids for Miss Blandish The October Man So Evil My Love 1949 The Third Man The Spider and the Fly Whiskey Galore International Film Noir Classic Period 193 1950 Night and the City The Blue Lamp 1951 The Lavender Hill Mob Pool of London 1952 The Flanagan Boy (US title Bad Blonde) The Gambler and the Lady The Last Page (US title Man Bait) Stolen Face 1954 House Across the Lake (US title Heat Wave) Murder by Proxy (US title Blackout) 1955 Footsteps in the Fog Impulse 1957 Hell Drivers 1958 The Long Haul 1960 The Criminal Hell is a City Italian film noir 1942 Ossessione Nothing New Tonight (Stasera niente di nuovo) Trucks in the Fog (Fari nella nebia) 194 Appendix 1945 The Witness (Il Testimone) 1946 The Bandit (Il Bandito) Opium Fumes (La fumeria d’oppio) Tragic Pursuit (Cacchia tragica) 1948 Bitter Rice (Riso amaro) Cocaine (Una lettera all’alba) Without Pity (Senza pietà) 1949 In the Name of the Law (In Nome della legge) Lost Youth (Gioventù perduta) 1950 The Outlaws (I Fuorilegge) Story of a Love Affair (Cronaca di un amore) 1951 Attention Bandits (Achtung! Banditi!) The Path to Hope (La città si difende) Flying Brigades (Il bivio) You Saved My Daughter (Lebbra bianca) 1952 White Slave Trade (La tratta delle bianche) The City Stands Trial (Processo alla città) The Vanquished (I Vinti) 1954 The Stranger’s Hand (La mano dello straniero) 1958 The Challenge (La Sfida) International Film Noir Classic Period 195 1961 Salvatore Guiliano 1963 Hands Over the City (Le Mani sulla città) Japanese film noir 1933 Everyday Dreams 1948 Drunken Angel The Day Our Lives Shine Women of the Night 1949 Stray Dog 1950 Lady From Hell Street of Violence 1951 Beyond Hate 1952 Violence 1953 Mr. Poo 1954 Gutter 1956 I Saw The Killer Street of Shame 196 Appendix Black River Suzaki Paradise: Red Light Darkness at Noon 1957 The Lower Depths I Am Waiting The Stakeout (a.k.a. The Chase) 1958 Rusty Knife Red Quay 1960 The Bad Sleep Well Intimidation Take Aim at the Police Van 1961 Pigs and Battleships Greed in Broad Daylight 1963 High and Low Notes Introduction: Global Fugitives – Outside the Law and the Cold War ‘Consensus’ 1. For ‘protection’ as in protection racket as the subtext of ‘defense’ pacts, see the discussion by Giovanni Arrighi (2009) in the Introduction of Adam Smith in Beijing (London: Verso). 2. The cotton industry analysis was performed by Luxembourg in a post- humously published manuscript titled Introduction to Political Economy (Van der Linden 2010 p. 370). 3. The transitoriness of the sea figures prominently in noirs of the 1930s and 1940s, from Gabin’s consistent longing to leave the port city he finds himself trapped in (Le Havre in Le Quai des brumes, Genoa in Au-delà des grilles), to Welles’s itinerant sailor, a citizen of the world, in Lady From Shanghai (1948). 4. For the contemporary use of 3D as a tool of Hollywood dominance, see my (2011) ‘The Film Festival as Site of Resistance: Pro or Cannes?,’ Situations: Project of the Radical Imagination, Special Issue ‘Global Cinema: Cinema Engage or Cinema Commerciale?,’ Vol. IV, Issue I, 33–52. 5. The Hays Code was partly instituted to standardize product so that individual states’ censorship boards would not be blocking films from opening. The code itself also facilitated Hollywood being seen as a family enterprise, with the commercial reasoning being that the whole family attending the films of a now cleaned-up industry would be far better for ticket sales than individual attendance (L. Leff and J. Simmons [1990] The Dame in the Kimono: Hollywood, Censorship, & The Production Code From The 1920s To The 1960s (New York: Grove Weidenfeld). 6. This impact continues into the present. For a treatment of the global impact, see a special section of Positif on Le Neorealisme, which consid- ers the movement’s influence on 1960s British ‘Free’ and ‘Kitchen Sink’ Cinema and Brazil’s Cinema Nuovo as well as on contemporary Korean and Iranian Cinema ( July–August 2013, 4–71). 7. See my ‘Class, Labor and the Homefront Detective: Hammett, Chandler, Woolrich and the Dissident Lawman (And Woman) in ’40s Hollywood and Beyond,’ Social Justice, Fall 2005. 8. Not to mention the wartime combination of social realism and American noir in Visconti’s adaptation of James M. Cain’s The Postman Always Rings Twice, Ossessione (1941), set amid the squalor and poverty of the Po Valley with that landscape surveyed minutely and with intense documentary thoroughness throughout the film and in the flight of the doomed lovers in the final sequence. 197 198 Notes 9. See the Neo-Noir section of Silver and Ward’s (1992) Film Noir: An Encyclopedic Reference to the American Style. 10. This notion was codified in Honore-Antoine-Fregier’s 1840 work Des Classes dangereuses de la population des grandes villes (The Dangerous Classes in the Population of Great Cities) and it animated popular works of the period, most notably Eugene Sue’s Le Mystère de Paris, 1842–43 ( Jonsson 2008, p. 38). 11. Just as gay culture would reappropriate the pejorative ‘queer’ and use it as a form of resistance. The British proletariat’s reworking of this position is the subject of E. P. Thompson’s 1956 classic The Making of the English Working Class (New York, Vintage Books). 12. Double Indemnity (1944), for example, forms a crucial intertext for the Norwegian noir Death Is a Caress (1949), yet even here Edith Calmar’s film remains more attuned to exploring class and gender differences between the heart-throb mechanic and the rich wife who falls for him while foregoing the violent murder of her husband. 13. It was the ‘national popular’ that enabled French cinema to survive the onslaught of Hollywood in the 1930s with the invention of sound. Sound was at first viewed as merely a device that could be inserted into any story anywhere, and Paramount began filming various features in different languages for circulation abroad in an attempt to overwhelm the foreign market. However, French directors, using the French language and cul- ture, molded an oppositional cinema in the form of poetic realism which was able to speak to its audience in ways Hollywood could not. 14. A possible explanation for this difference from film noir in the American context is the still extant remnants in much of the world of a feudal system in which all life and levels of life were connected, a system that was never a part of the American experience. 15. In the American context, see, for example, the doomed voice over of the hitchhiker killer in the prototype noir Detour (1945) and the experiments in subjective camera that mark Dark Passage (1947) and Lady in the Lake (1947). 1 Une grève, sanglante et poétique (A Strike, Bloody and Poetic): French Film Noir and the Defeat of the Popular Front 1. In Robin Buss’s list of ‘One Hundred and One French Film Noirs’ only 16 occur before the crucial year of 1955, which with Rififi (1955) and Bob Le Flambeur (1956) marks the moment of the entry into French films in a major way of a reflexive form of noir partly determined by the dialogue with its American counterpart. 2. This title is a riposte to the communist leader Maurice Thorez’s oft- quoted imposition of order on the spontaneous irruption of June 1936: ‘It is necessary to know when to end a strike.’ Notes 199 3. In that light, La Petite Lise’s shopgirl, who lives in a hovel and participates in a murder to remove herself from the prostitution that she is forced to engage in on the side, is the reverse image of the 1920s and 1930s free- floating consumerist flapper, perfected in Hollywood by Clair Bow, and the subject of cinematic studies of 1920s Weimar Germany and 1930s Shanghai. See Patrice Petro’s Joyless Streets (Princeton, NJ: Princeton University Press, 1989) and Zhen Zhang’s An Amorous History of The Silver Screen. Shanghai Cinema, 1896–1937 (Chicago, IL: University of Chicago Press, 2005). 4. La petite Lise opens with a sequence in the infamous prison colony of Cayenne in French Guinea where the routinized bathing and sleeping habits, resisted by the tattoos and graffiti of the bagnards, suggests the similarities between this form of slavery and the mean spirited applica- tion of Taylorism in the factory world outside. 5. Zola’s La Ventre de Paris (The Belly of Paris) begins with the return to Paris of a political prisoner sent to the island after the street revolts of 1852, the supposedly sole escapee from Devil’s Island to ever return to the capital.