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Cambridge University Press 0521641063 - Crime Films Thomas Leitch Index More information Index Note: All titles not otherwise marked refer to films, which are followed by their release date and director. When books, radio and television programs, films, and remakes bear the same title, they are listed as separate chronological entries. Fictional characters are indexed only when their life extends beyond one book or film. The titles of books and essays are indexed only when they are mentioned in the text, and names in the endnotes are indexed only when there is no direct reference to the corresponding passage in the text. Boldface numbers re- fer to illustrations. A-1 Detective Agency, 28 Affleck, Casey, 301 Abbott and Costello Meet Frankenstein Affliction (1998, Paul Schrader), 62 (1948, Charles Barton), 9 African Queen, The (1951, John Huston), 30 Abel, Walter, 100 After the Thin Man (1936, W. S. Van Dyke), Absolute Power (1997, Clint Eastwood), 80 28 absolutism, moral, 15 Agee, James, 58 Academy Awards, 43, 46, 47–8, 54, 95, 115, AIDS, 147 124, 154, 155, 157, 177, 178, 201, 279 Aiello, Danny, 50 Accused, The (aka Strange Deception) (1948, Airplane! (aka Flying High) (1980, Jim William Dieterle), 70, 80 Abrahams and David Zucker), 10 Accused, The (1988, Jonathan Kaplan), 88, Airport (1970, George Seaton), 10 248 Aitken, Maria, 271 Across 110th Street (1972, Barry Shear), 42 Aladdin (1992, Ron Clements and John action genre, 10, 297, 302, 304 Musher), 2 Adam 12 (TV program), 38 Albertson, Frank, 96 Adam’s Rib (1949, George Cukor), 244, 248, Alger, Horatio, 277 249–50, 251 Aldrich, Robert, 127 Addams Family, The (1991, Barry Sonnen- Alfred Hitchcock Hour, The (TV program), 37 feld), 276 Alfred Hitchcock Presents (TV program), 37 Adventure, Mystery, and Romance (critical Alias Jimmy Valentine (play, 1909), 21 study, 1976), 63, 66 Alias Jimmy Valentine (1915, Maurice Adventures of Ellery Queen (radio and TV Tourneur), 21–2, 24 program), 324n2 Alibi (aka Nightstick; The Perfect Alibi [U.K.]) Adventures of Robin Hood, The (1938, (1929, Roland West), 23 Michael Curtiz and William Keighley), Alibi (1931, Leslie S. Hiscott), 172 30, 88 Alien (1979, Ridley Scott), 9 Adventures of Sherlock Holmes, The (aka All My Sons (1948, Irving Reis), 299 Sherlock Holmes [U.K.]) (1939, Alfred L. Allen, Woody, 271–2, 315n9 Werker), 28 Allingham, Margery, 55 359 © Cambridge University Press www.cambridge.org Cambridge University Press 0521641063 - Crime Films Thomas Leitch Index More information 360 Index Allyn, John, 322n19 Armstrong, Robert, 228 Alonzo, John A., 203, 326n8 Arsenic and Old Lace (1944, Frank Capra), Alphaville: Une Étrange Aventure de Lemmy 9, 267, 275, 287, 289, 292 Caution (1965, Jean-Luc Godard), 36 Asphalt Jungle, The (1950, John Huston), 16, Altman, Rick, 5, 17, 52, 290, 309n7, 310n13, 30, 36, 76, 103, 104, 106–7, 114, 292, 300 328n1 Assault on Precinct 13 (1976, John Carpen- amateur-detective figure, 170, 189, 244; see ter), 6 also unofficial-detective figure Astaire, Fred, 2, 10, 83, 145 ambivalence, toward Astor, Mary, 70, 198 crime, 15–16, 48–51, 294 Auden, W. H., 55 drugs, 44–5 Austen, Jane, 12 heroes and heroism, 304–5 auteur criticism, 52, 53, 58–60, 64 law, 24, 46 Autopsy (critical study, 1992), 72–3 lawyers, 241–4, 296 avenger role, 14–17, 86, 89, 295, 306–7; see police, 216–20 also detective genre; detective role; private eyes, 201–2 police genre; police role; private-eye screen violence, 45–6, 85 genre sex, 146–50, 154, 155, 156, 186–7 Awful Truth, The (1937, Leo McCarey), 304 American Beauty (1999, Sam Mendes), 134 American Cinema, Directors and Directions, Baby Doll (1956, Elia Kazan), 37, 40 1929–1968, The (critical study, 1968), Bacall, Lauren, 178, 179, 194 58–9 Bacon, Kevin, 246 American Film Genres (critical study, 1974), Bad Girls (1994, Jonathan Kaplan), 89 63 Bad Guys, The (critical study, 1964), 66 American Psycho (2000, Mary Harron), 300 Bad Lieutenant (1992, Abel Ferrara), 45 Amistad (1997, Steven Spielberg), 245 Bad Sleep Well, The (aka The Rose in the Analyze This (1999, Harold Ramis), 267, 269 Mud; The Worse You Are, the Better You Anatomy of a Murder (novel, 1956), 50 Sleep; Warui yatsu hodo yoku nemuru) Anatomy of a Murder (1959, Otto (1960, Akira Kurosawa), 300 Preminger), 39, 244, 249, 250, 252 Badalamenti, Angelo, 186 Anatomy of Criticism (critical study, 1957), Badlands (1973, Terrence Malick), 106, 108, 64 112, 301 . And Justice for All (1979, Norman Baldwin, Alec, 106 Jewison), 44, 249, 252 Ball of Fire (1941, Howard Hawks), 131, 268 And Then There Were None (1945, René Balsam, Martin, 177, 179 Clair), 181 Bancroft, George, 22, 23 Anderson, Thom, 128 Band Wagon, The (1953, Vincente Minnelli), Anderson Tapes, The (1971, Sidney Lumet), 304 175 Bank Dick, The (1940, Edward F. Cline), 267 Andrews, Dana, 94, 223, 226 Bank Shot (1974, Gower Champion), 37 Angel Heart (1987, Alan Parker), 196 Baranski, Christine, 259 Angel on My Shoulder (1946, Archie Mayo), Barfly (1987, Barbet Schroeder), 255 31 Barkin, Ellen, 160, 161 Angels with Dirty Faces (1938, Michael Barnett, Vince, 25, 106 Curtiz), 30, 107–8 Barr, Byron, 138 animation genre, see cartoon genre Barrymore, John, 23, 172 Another 48 Hrs. (1990, Walter Hill), 48 Barrymore, John, Jr., 94 Apartment, The (1960, Billy Wilder), 132, 299 Barthes, Roland, 73 Apocalypse Now (1979, Francis Ford Barton Fink (1991, Joel Coen), 277, 278 Coppola), 124 Basic Instinct (1992, Paul Verhoeven), 47, Appointment with Death (1988, Michael 146, 154–64, 159, 163, 165, 166, 203, Winner), 180 280, 291, 307 Archer, Anne, 152, 153 Basinger, Kim, 106 Aristotle, 82, 86, 92, 265 Basquiat (1996, Julian Schnabel), 45 Armstrong, Paul, 21 Batman (char.), 301 © Cambridge University Press www.cambridge.org Cambridge University Press 0521641063 - Crime Films Thomas Leitch Index More information Index 361 Batman (1989, Tim Burton), 44, 88, 312n14 Big House, The (1930, George W. Hill), 300 Batman & Robin (1997, Joel Schumacher), Big Lebowski, The (1998, Joel Coen), 287, 44, 312n14 287 Batman Forever (1995, Joel Schumacher), Big Sleep, The (novel, 1939), 192, 206 44, 312n14 Big Sleep, The (1946, Howard Hawks), 72, Batman Returns (1992, Tim Burton), 44, 73, 137, 193, 196–7, 200, 210 312n14 Big Store, The (1941, Charles Reisner), 267 Baxter, John, 67, 75, 320n1 Bigger Than Life (1956, Nicholas Ray), 45 Beals, Jennifer, 199 Biggers, Earl Derr, 28 Beatty, Warren, 41, 104, 112 Billy Bathgate (1991, Robert Benton), 106 Beauty and the Beast (1991, Gary Trousdale Birth of a Nation, The (1915, D. W. Griffith), and Kirk Wise), 8 8, 80 Bedelia, Bonnie, 255 Bisset, Jacqueline, 178, 179, 234 Before the Fact (novel, 1932), 91 Black Angel (1946, Roy William Neill), 33 Belafonte, Harry, 42 Black Caesar (1973, Larry Cohen), 42 Bellour, Raymond, 2 “Black Cat, The” (story, 1843), 19 Bening, Annette, 114 Black Godfather, The (1974, John Evans), 42 Bennett, Joan, 94, 95, 142 Black Legion (1936, Archie Mayo), 90 Bentley, E. C., 54–5, 184 Black Mask (magazine), 23, 195 “Berenice” (story, 1835), 19 Black Six, The (1974, Matt Cimber), 42 Berg, Peter, 165 Black Widow (1987, Bob Rafelson), 157 Bergman, Ingrid, 79, 91, 178, 179 Blackie, Boston (char.), 37 Berkeley, Anthony, 91 Blackmail (1929, Alfred Hitchcock), 16, Betrayal (1983, David Hugh Jones), 257 90–1, 180 Betrayed (1988, Costa-Gavras), 302 Blackmer, Sidney, 95 Beverly Hills Cop (1984, Martin Brest), 48, Blake, Nicholas, 55 49, 267 Blakely, Colin, 179 Beverly Hills Cop II (1987, Tony Scott), 48, blaxploitation genre, 42, 48 267 Blazing Saddles (1974, Mel Brooks), 8 Beverly Hills Cop III (1994, John Landis), 48, Bleak House (novel, 1852–3), 215 267 Blob, The (1958, Irwin S. Yeaworth Jr.), 231 Beyond a Reasonable Doubt (1956, Fritz Blood Simple (1984, Joel Coen), 48, 276 Lang), 94–5 Bloody Mama (1970, Roger Corman), 106 BFI Companion to Crime, The (ref. bk., Blow Out (1981, Brian De Palma), 181 1997), 76 Blowup (aka Blow-Up) (1966, Michelangelo Bible, The (aka The Bible . In the Begin- Antonioni), 315n14 ning; La Bibbia) (1966, John Huston), Blue Angel, The (Der blaue Engel) (1930, 210 Josef von Sternberg), 61 Bicycle Thief, The (aka Bicycle Thieves; Blue Velvet (1986, David Lynch), 48, 50, 170, Ladri di biciclette) (1948, Vittorio De 184–90, 187, 191, 191, 195, 203, 218, Sica), 79, 80, 83, 87 294, 307 Big Book of Noir, The (anthology of critical Blyth, Ann, 57, 59 essays), 75–6 Body and Soul (1947, Robert Rossen), 35, Big Carnival, The (aka Ace in the Hole; The 128, 142, 143 Human Interest Story) (1951, Billy Body Double (1984, Brian De Palma), 167, Wilder), 132 182 Big Clock, The (1948, John Farrow), 134, 143 Body Heat (1981, Lawrence Kasdan), 146, Big Combo, The (1955, Joseph H. Lewis), 9, 147–50, 149, 151, 155, 156, 157, 162, 59, 106 165, 168 Big Deal on Madonna Street (aka The Usual Body of Evidence (aka Deadly Evidence) Unidentified Thieves; Persons Unknown (1993, Uli Edel), 47, 167, 323n10 [U.K.]; I soliti ignoti) (1958, Mario Bogart, Humphrey, 29–32, 31, 38, 70, 74, 89, Monicelli), 37 142, 196, 198, 201, 209, 252 Big Heat, The (1953, Fritz Lang), 33, 35–6, Bogle, Donald, 313n25 62, 94, 137, 217, 222 Boileau, Pierre, 80 © Cambridge University Press www.cambridge.org Cambridge University Press 0521641063 - Crime Films Thomas Leitch Index More information 362 Index Bold Bank Robbery, The (1904, photo- Brook, Clive, 23 graphed by Jack Frawley), 311n4 Brosnan, Pierce, 105 Bond, James (char.), 238, 301–2 Brown, Charles Brockden, 18 Bond, Rudy, 119 Brown, Father (char.), 54, 77 Bonitzer, Pascal, 73–4, 318n62 Brown, Joe E., 272 Bonnie and Clyde (1967, Arthur Penn), 3, Bruce, Nigel, 28, 29 41, 41–2, 68, 86, 104, 106, 108, 113, 114, Brute Force (1947, Jules Dassin), 16, 35, 128, 146, 272, 296 143, 300 Boogie Nights (1997, Paul Thomas Ander- Buck Rogers (aka Buck Rogers Conquers the son), 45 Universe) (1939, Ford I.
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    Airplane! By Michael Schlesinger In most people’s minds, the 1970s break neatly in two. The first half was the so- called Silver Age of Holly- wood, when a new genera- tion of directors arose and put their stamp on the mov- ies: Scorsese, Coppola, DePalma, Friedkin and oth- ers made ambitious, rule- breaking films that seemed to spell the end of the vaunted studio system (save Peter Bogdanovich, Stewardess Julie Hagerty and erstwhile pilot Robert Hays in the cockpit of the doomed who made traditional pictures ‘Airplane!’ Courtesy Library of Congress Collection. in a modern way). But a funny thing happened on the way to auteur nirvana: two “Zero Hour!” (Davison avers this was totally a coinci- other New Kids inadvertently killed the silver goose, dence.) The brass liked it yet were skeptical, but leg- and by the time the dust settled, Spielberg and Lucas endary producer Howard W. Koch “got” it and volun- were the new white-haired boys, and the studios teered to come aboard. With that reassurance and a were back in the blockbuster business for good. reasonable $3.5 million budget, Michael Eisner gave them the green light. Yet what most people forget is that big money was already being hauled in throughout the decade by an It didn’t begin smoothly. ZAZ, as they were called, exceedingly old-fashioned genre: the disaster film. wanted dramatic actors not known for comedy, who George Seaton’s good-natured “Airport” made a kill- would deliver the goofy dialogue perfectly seriously; ing in 1970, but it was considered a one-off throw- Paramount thought this was bonkers and wanted back.
  • Race on the Road: from the Periphery to the Centre in Jonathan Kaplan's Love Field

    Race on the Road: from the Periphery to the Centre in Jonathan Kaplan's Love Field

    RACE ON THE ROAD: FROM THE PERIPHERY TO THE CENTRE IN JONATHAN KAPLAN’S LOVE FIELD Carmen Indurain Eraso Universidad Pública de Navarra Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce “racial” road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan’s Love Field (1992), in an attempt to show that the road movie’s generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status. In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14). 1. RACE ON THE ROAD: A PERIPHERAL PRESENCE While it reminds us of the inner search, a basic trait of the road movie genre, this quotation by Michael Atkinson also makes the significant point that the socially marginalised are liable to experience an even greater need for this personal quest. As members of this underprivileged group together with women, non-whites can feel more intensely the “call to adventure”, to flee from an emotionally retarded society which has failed to integrate them satisfactorily. Thus, given their unfavourable condition in society which has traditionally allotted them a peripheral position as mere accessories to the white male, African Americans, Hispanics or Native ES 27 (2006-7): 75-94 76 CARMEN INDURAIN ERASO American Indians have started to find a central space of cinematic representation in the road genre.