Extra, Extra! Noir City!

First, an extra extra for you—hang on, is that right amount of extras? OK, yeah, it is. Rosemarie and I are very happy to be the guests on the new episode of Noir Talk, the podcast dedicated to the Film Noir Foundation’s efforts and hosted by Haggai Elitzur. We talk about the Noir City film festivals, how issues of the magazine are assembled, and the Foundation’s role in inspiring the work of our mystery fiction-writing alter ego Renee Patrick. Tune in here.

Speaking of Noir City the magazine, the latest issue of the FNF’s house rag is out this week, boasting a glorious new layout courtesy of ace designer Michael Kronenberg and bursting with top-notch material. A sampling of the treasures contained therein—

Sharon Knolle’s cover story on psychiatrists as heavies onscreen and off in Hollywood;

FNF honcho and TCM host Eddie Muller on Tod Browning’s crime drama Outside the Law, which just wowed audiences at the San Francisco Silent Film Festival;

A double dose of Noir City mainstay Jake Hinkson, with a look back at Bruce Springsteen’s bruising masterpiece Nebraska and a consideration of Elisabeth Sanxay Holding’s peerless domestic noir The Blank Wall and its two screen incarnations (The Reckless Moment and The Deep End);

A survey of Donald E. Westlake films by Ben Terrall, perfectly paired with novelist Danny Gardner’s appreciation of his favorite neo-noir, the Westlake-as-Richard-Stark-based The Outfit.

Plus we welcome back Noir City Sentinel scribe Eric Beetner with his new column The Dark Page. This look at noir fiction kicks off with an interview with the one and only Bill Crider. We also add whip-smart film writer Nathalie Atkinson to our roster of critics. And like all good meals there’s a sweet treat at the end in the form of a new book review from our ol’ pal Ray Banks.

Yes, I’m in it, too, with my usual Cocktails & Crime column. I also get in on the Westlake lovefest by recounting a favorite production story in our On The Set feature, spotlighting Point Blank.

How, you may ask, do I acquire such treasures for my own edification? Simply make a contribution to the Film Noir Foundation and all this, and more, can be yours!

The Big Knockover Comes Home

It’s that time of year again, gang. The Seattle iteration of the Noir City film festival kicks off this evening at Capitol Hill’s Egyptian Theater. It’s the all-heist film edition. Seven straight days of double bills (with bonus matinees this holiday weekend!) equaling twenty, count ‘em, twenty capers. It all gets rolling tonight with a peerless pairing of The Asphalt Jungle and Criss Cross.

There’s so much to savor in this roster cooked up by Film Noir Foundation honcho and festival host Eddie Muller. My personal picks: Violent Saturday, in which pulp meets Douglas Sirk; my favorite movie of all time, the original The Taking of Pelham One Two Three, on the big screen at last; and El Aura, a film I’ve been touting for over ten years (and the subject of my first-ever Noir City contribution).

I’ll be living at the Egyptian for the next week—and possibly appearing on stage—so come on out and say hello. Live musical entertainment is on tap tonight and Saturday, as well. Given a battery of other commitments I won’t be doing daily recaps this year, but I’ll try to post updates as the fun unfurls.

Extra, Extra! Noir City!

One of the benefits of being on the masthead of Noir City, the magazine of the non-profit Film Noir Foundation, is pitching in on the planning. I’ve known about the all-TV issue, which went out to subscribers last weekend, for ages, and had my pick of subject matter. I could have cherry-picked a vintage series that provided a small screen home for the migrating talent responsible for the twisted cinematic crime dramas of the 1950s. Or I could have claimed the contemporary cable antihero of my choice. It’s good to be the king, or in this case the managing editor.

Instead I pitched the only story I wanted to write. Which is why the issue features a look back at HBO’s two Phil Lovecraft films. Cast a Deadly Spell (1991) somehow knew Raymond Chandler and H.P. Lovecraft were two great tastes that taste great together. The result is a sly salute to classic noir that’s also genuinely, consistently funny. The disappointing follow-up Witch Hunt (1994) is an object lesson in the powers that be preparing a sequel while not comprehending what makes the original work.

Joseph Dougherty wrote both films, and proved a funny and candid interview. An acclaimed playwright and TV hyphenate, he’s spent the past seven years working on Pretty Little Liars, which he describes as “mini-Hitchcock movies for teens.” Dougherty wrote and directed “Shadow Play,” a film noir-inspired episode that became a fan favorite. We did a second interview about that show, complete with the welcome news that PLL has introduced a new generation to classic cinema as well as Dougherty’s brilliant advice for penning dialogue for teenage girls: “think of them as a bomber crew in a Howard Hawks movie.”

I’ve also got my usual Cocktails & Crime column, plus reviews of a new Douglas Sirk/George Sanders Blu-ray set and Edward Sorel’s offbeat book Mary Astor’s Purple Diary, covered in the New York Times by some wet-behind-the-ears stringer named Woody Allen.

But I’m not the only person in this issue. You also get—

- A double dose of FNF honcho Eddie Muller, interviewing Warner Bros. Home Entertainment George Feltenstein and holding forth on the small screen-spawned Mulholland Dr.

- Cartoonist/illustrator Daniel Clowes’ one-of-a-kind list of his five favorite noir films

- Imogen Smith on the definitive noir TV show, The Fugitive

- Jazz aficionado supreme Brian Light’s appraisal of the offbeat Johnny Staccato

- Alan K. Rode charting the noir roots of Perry Mason

- Steve Kronenberg’s assessment of the noir episodes of The Twilight Zone and Thriller

- Danilo Castro’s remembrance of Fallen Angels, the ‘90s cable series that brought pulp to primetime

- Sharon Knolle on the recent bumper crop of noir on cable, including Quarry and Animal Kingdom

- Ben Terrall’s very personal history of the pulp origins of Shane Black’s The Nice Guys

And, believe it or not, even more. It’s a true gem of an issue, and it’s yours by making a contribution to the Film Noir Foundation.

Keenan’s Klassics: It’s a Shane Black Christmas

A blast from the past. December 2009, to be exact.

There I am at my favorite watering hole, talking with the staff, when the subject of Christmas movies is raised.

First suggestion, not made by me: the traditional double-bill of Die Hard and Die Hard II: Die Harder.

Thus giving me the tenor of the conversation. This is not the time, perhaps, to mention Remember the Night and Holiday Affair, two overlooked films (with noir connections!) that Turner Classic Movies has labored to turn into Yuletide staples. Although a mention of Blast of Silence, full of Wenceslas wetwork, might not be out of the question.

So I lobby for my own Christmas favorite, The Ref. And then observe, not for the first time, that the entire oeuvre of Shane Black – Lethal Weapon, The Last Boy Scout, The Long Kiss Goodnight, and Kiss Kiss Bang Bang – is set at the most wonderful time of the year. (Editor's note, 2013: You can now add IRON MAN 3 to that roster. Editor’s note, 2016: And THE NICE GUYS. The Christmas trees are there if you look.)

Therefore, as you venture out for that last round of shopping, I offer, by popular demand, what has become a VKDC tradition. (“By popular demand” meaning Rosemarie asked, “Why haven’t you posted this yet?” And she did write most of it.) Here, once again, is Shane Black’s 12 Days of Christmas. Record your church group performing this and we’ll post the video here!

Twelve cars exploding
Eleven extras running
Ten tankers skidding
Nine strippers pole-ing
Eight Uzis firing
Seven henchmen scowling
Six choppers crashing

Five silver Glocks

Four ticking bombs
Three hand grenades
Two mortar shells
And a suitcase full of C-4

God bless us, everyone. Or else.

Queen of Crime

Several weeks early, I offer my New Year’s resolution for 2017: whenever I hear someone is making an enemies list, I’m gonna do what I can to be on it.

***

There’s still time to go, but it’s entirely possible the best movie I saw in a theater in 2016 will be ... the best movie I saw in a theater in 2015. Seattle’s Cinerama recently wrapped a 10-day run of Mad Max: Fury Road – The Black and Chrome Edition. What better time to revisit the apocalypse! George Miller called this black and white print “the best version” of his action extravaganza, a “more authentic and elemental” experience. I loved the film when I saw it last summer, but this viewing was indeed more intense and emotional. Monochrome is Tom Hardy’s friend, revealing new layers to his performance. Both versions will be available on Blu-ray next month, but I may put Fury Road in the rarified category of movie I only watch on a big screen.

***

One of the titles I picked up in the self-serve book room at Bouchercon in New Orleans was Blood Relations: The Selected Letters of Ellery Queen, edited by Joseph Goodrich. As one-half of Renee Patrick, I’m always interested in the working methods of other writing teams.

Rosemarie and I intend to remain married, so we’re not about to follow the lead of cousins Frederic Dannay and Manfred B. Lee. As Ellery Queen they wrote numerous novels and short stories about a detective also named Ellery Queen, with Dannay responsible for plotting duties and Lee handling the prose. It was a fraught system, each man resenting their interdependence and feeling unappreciated by the other. Their exchanges are charged with recriminations but also hugely instructive. One letter will offer a devastating critique of the work in progress, followed by an equally avid and airtight response. It’s bracing to read correspondence between partners who both have their reasons and are more than capable of defending them.

Here’s where I confess my ignorance of the Queen oeuvre. My experience was largely limited to the TV series from Columbo creators Richard Link and William Levinson, which incidentally is streaming on Hulu. Goodrich culls the letters in Blood Relations from what scholar Francis M. Nevins calls the “Third Period” of Queen, from 1942-58, when Ellery Queen the character was transformed from effete dandy to flesh-and-blood individual. I set out to read the books from Queen’s golden era even though the Dannay/Lee letters made me familiar with their twists and turns. I was curious; having peaked behind the curtain, could I still enjoy the show?

Ten Days’ Wonder (1948) is something of a chamber piece, one of the novels where Ellery retreats to the bucolic hamlet of Wrightsville. As such, it has a small cast of characters and for that reason I couldn’t shake the feeling that even coming to it fresh I would have sussed out the killer. The core idea still strikes me as a shade too intellectual. But the writing is soulful, seeking and finding a deepening of the character, and the mechanics of the final revelation are impressive. The next year’s Cat of Many Tails, in contrast, seemed even more thrilling knowing what tricks the boys had up their sleeves. The gripping tale of a serial killer terrorizing New York, it’s thick with mid-century atmosphere; when handing over his detailed outline, Dannay suggests Lee use the then-in-the-theaters The Naked City as a guide. The Cat’s method of selecting his victims is as diabolical now as it was nearly seventy years ago, the motive behind it every bit as chilling. The psychological explanations tend to be long-winded, understandable given when the book was written. But that gentility also makes the shock easier to take.

It was fascinating to approach a book when its gaff has been blown and look for the seams. Time to read some Ellery Queen where I don’t possess any of their secrets.

Social Media Habits, and How the Coen Brothers Saved Election Night

For some reason I feel compelled to explain why this post exists. I’ll keep it brief. A week before the election, I went cold turkey on Facebook and Twitter. I realized that, like the rest of the country, I was going insane, and social media was only accelerating the process. I was checking Twitter constantly for updates and new polling numbers, mainlining everyone else’s fears and hopes at the same time. Conversely, I’d stop by Facebook for a break from the news – Post some photos of your damn cats! – only to get sucked back into the maelstrom.

It finally dawned on me that this was part of the problem.

Time for a sabbatical. I still read the news, but in concentrated doses. (Do the republic and yourself a favor: subscribe to a newspaper. Journalism is important enough to pay for.) By election night I felt calmer, I was sleeping better, and once out of the echo chamber I’d unintentionally built I was even somewhat prepared for the eventual outcome. I also discovered I wasn’t in any hurry to get back to my old habits.

I’ve made some resolutions for the coming years. If anything I’m going to spend more time in bars, because what we all need to do now is talk directly to friends and strangers alike in a congenial atmosphere. Engagement must be the order of the day. (Here’s a segment from WNYC’s The Leonard Lopate Show about the role of the bar as community meeting place on Election Night, featuring the terrific New York Times Magazine writer/bartender Rosie Schaap.)

And I’m going to reduce my social media presence for my own peace of mind. Not eliminate it; the pull’s too strong, and I know how essential it is for promotion. (Did I mention that Rosie Schaap blurbed my book Down The Hatch?) While I am going to scale back, I do still have an overwhelming urge to shoot my mouth off. So I plan on posting here again – I’m aiming for once a week, maybe Thursdays – with recommendations and updates. Why not start with how I spent election night?

No way was I watching returns on television. I gave up TV news, especially the cable variety, a while ago. Instead I tracked the results online and entered the brave new world in the company of Joel and Ethan Coen, who never let me down. I rewatched a trio of their titles that seemed unusually apt, given the circumstances.

Burn After Reading (2008). I have irrational affection for what’s often viewed as a “lesser” Coen film. When it came out, I glibly told people it was about how the United States ended up going to war in Iraq. I never developed the theory in detail; it just felt true to me. This was the Coen movie I thought of the most during the election cycle. Pretty much every character is a self-absorbed idiot, by turns entitled and aggrieved. Empathy ends at their fingertips. They obsess over their own problems and assume the worst about everyone else. The only decent person to be found lacks all conviction, and naturally ends up meeting the cruelest fate.

Plus you have Frances McDormand, looking a little like Hillary Clinton, sobbing about having to build a firewall. So yeah, 2016 in a nutshell.

Miller’s Crossing (1990). The angry man behind the desk is a Coen motif. Sooner or later, their protagonists always have to square off against one. Crossing doubles down on the theme. Gabriel Byrne’s Tom Reagan stands before two such desks – Albert Finney’s and Jon Polito’s – as both advisor and adversary. There are valuable lessons here for the next few years. In a harsh and unpredictable world, the only way to win is to play the long game, even if it means keeping your true motives hidden.

Hail, Caesar! (2016). Fourth viewing of their latest movie. I don’t think it’s a minor work. I think it’s a dense, unconventionally structured masterpiece. (My pal Ethan Iverson likes it, too.) The “man behind the desk” evolves in the Coens’ films – when the figure appears in Burn After Reading in the form of J.K. Simmons’ CIA chief, he’s as befuddled as everyone else – and it’s strangely moving that in Caesar, they’ve finally made him their hero. All you can hope for is that, like Josh Brolin’s Eddie Mannix, he has a soul and is trying in his own way to do the right thing. Slapping some sense into wayward movie star Baird Whitlock (George Clooney), he says, “You’re going to do it because the picture has worth, and you have worth if you serve the picture, and you’re never going to forget that again.” Finding something larger than you and serving it. Good advice for the week.

Extra, Extra! Noir City!

Over the weekend, the Summer 2016 issue of the Film Noir Foundation’s house rag hit in-boxes. And I’ll tell you right now, I’ve never been prouder of any edition of this magazine. The reason is the cover story, my interview with Academy Award nominated director Stephen Frears.

I gave the assignment to myself, not even running it past FNF founder and Noir City honcho Eddie Muller at first for fear the interview wouldn’t come together. My bailiwick as managing editor at the magazine is contemporary noir. It occurred to me that there are plenty of current filmmakers who have contributed mightily to noir – and that we need to talk to them about that work while we have the opportunity. We’re not going to get to sit down with, say, Robert Siodmak or Robert Wise, but we could corral their successors and discuss noir’s evolution. And, at the risk of sounding morbid, we were obligated to do so now, as last week’s untimely passing of writer/director Curtis Hanson at the age of 71 reminds us. (What I wouldn’t have given to talk to Hanson, not only about his masterwork L.A. Confidential but so many other dark gems on his resume like The Silent Partner, The Bedroom Window and Bad Influence.)

Why start with Stephen Frears? Three reasons. He has unassailable credentials, with The Hit (1984) and The Grifters (1990) enshrined in the neo-noir pantheon. He had a new film in release, which in purely practical terms meant he’d be more likely to be accessible. Incidentally, that new film, Florence Foster Jenkins, is delightful. Meryl Streep is understandably the focus of all the attention, but it also boasts the best performance of Hugh Grant’s career.

But my main motive was personal. Frears is one of my favorite filmmakers, his name on a movie a guaranteed incentive for me to watch it. I’ve lost track of the number of times I’ve seen The Snapper (1993), while High Fidelity (2000) is a kind of touchstone for me. If I were drafting one of those best-films-of-the-21st-century-so-far lists for the BBC, 2002’s Dirty Pretty Things would most definitely be on it.

Somehow, the stars aligned and I found myself on the phone with the man himself. Frears seemed amused at the prospect of being viewed as a noir filmmaker and agreed to stroll down Memory Lane with me, reminiscing about his debut feature Gumshoe (1971) and chiding me about not thinking of Dangerous Liaisons (1988) as film noir. He answered my questions with the low-key, self-effacing humor that seems the exclusive province of the English.

Eddie then took things to the next level by announcing Frears as the recipient of the Film Noir Foundation’s first annual Modern Master Award, “given to an artist whose work has displayed an appreciation for the thematic and artistic traditions of classic noir, as well as an eagerness to extend those traditions in fresh and unexpected directions.” Our plan is to present the award to Frears in person at the Noir City film festival in either San Francisco or Los Angeles – provided he can tear himself away from his latest project. And we’re already discussing who the next recipient might be.

But that’s only scratching the surface of what’s in this issue. There’s Eddie’s spellbinding article on the making of The Murderers Are Among Us (1946), the first of the “rubble films” shot amidst the ruins of post-war Europe. Imogen Sara Smith offers a pair of related articles on British World War II noir and an appreciation of Carol Reed’s neglected The Man Between (1953). Jake Hinkson considers the career of Detour author Martin Goldsmith. Steve Kronenberg salutes the great cinematographer Nicholas Musuraca. Nigel Collins, longtime editor of boxing magazine The Ring, serves up a surprising list of his 5 favorite noir titles. And the inimitable Johnny Shaw takes us on a tour of South Korean crime cinema, specifically The Yellow Sea.

Plus there’s the usual bounty of news, reviews and features, including my Cocktails & Crime column and my take on four films that screened at the Seattle International Film Festival. All of it beautifully laid out by ace designer Michael Kronenberg.

To get your copy, donate to the Film Noir Foundation. You’ll also be entered into a contest to win the brand new Kino-Lorber Blu-rays of Deadline U.S.A. and 99 River Street, with commentary tracks by Eddie Muller, and the Warner Archive DVD of James Ellroy favorite Stakeout on Dope Street.

If you want a taste of what’s in the magazine, my piece from last issue on Tequila Sunrise, a movie that had way too much influence on me, is now on the FNF website.

Movies: Noir City Seattle Returns

So I’m not as good as my word. So you’re getting a post-mortem. What could be better suited to a noir film festival?

After a hiatus of almost two and a half years, Noir City blew back into Seattle – and a new and better home at SIFF’s Egyptian Theater. Happily, the return engagement on Capitol Hill was a success, with solid crowds every night for a week. The theme this go-round was Film Noir from A to B: double-bills that moved chronologically through the 1940s, pairing prestige pictures with shorter, grittier productions to recreate the moviegoing experience of the era. (There was one exception to the structure and it mattered a great deal to me, but we’ll get to that.) Rosemarie and I made it to fifteen of the eighteen films screened, with time out for work and conspiring global domination with the festival’s master of ceremonies Eddie Muller. A recap follows.

New to Me

I saw three of the films for the first time, and as you’d expect, they were the B’s:

Dr. Broadway (1942). What was intended as the launching pad for a new franchise ended up as a series of one film. Still, it did provide noir legend Anthony Mann (Raw Deal, T-Men) with his first directorial assignment. This Runyonesque romp gained an unexpected topicality – the titular Times Square sawbones is named Tim Kane – and had potential, given the doc’s client base of gangsters and glamour gals. J. Carrol Naish makes his usual fine villain as a tailor cutting more than cloth in his bid to claim a crime boss’ fortune. Too bad the film stars the charisma-challenged Macdonald Carey, and his leading lady Jean Phillips triggered brain freeze every time she appeared onscreen; she was better known as Ginger Rogers’ stand-in, and is such a dead ringer for the dancer I had to keep reminding myself it wasn’t actually her.

The Guilty (1947). This Film Noir Foundation restoration is based on the Cornell Woolrich story “Two Men in a Furnished Room.” As Eddie said, that also accurately describes the budget. But those bargain basement appointments allow director John Reinhardt to hew closely to Woolrich’s singularly bleak, doom-laden vision. Former Nancy Drew and future Lassie producer Bonita Granville plays identical twins – one helpmeet, one harlot – who take up with a pair of shiftless roomies. When the good girl is murdered, suspicion abounds. The movie is no lost masterpiece but it’s undeniably haunting, the Poverty Row production values giving it the hermetic feel of a nightmare. At least one relationship is genuinely unseemly, and a detective’s description of Granville #1’s demise while star Don Castle, who could be out-acted by a cigar store Indian, gazes down at her off-screen corpse remains authentically disturbing.

Southside 1-1000 (1950). Doubts were raised during the opening of the closing film, a semi-documentary crimebusters saga from Gun Crazy producers the King Brothers. (Summary of John Ireland’s interminable voiceover: counterfeiting is bad.) But once treasury agent Don DeFore – a Noir City favorite thanks to his turn in Too Late for Tears, now available on DVD! – arrives in Los Angeles and starts throwing cash around in a bid to build his bona fides as a Boston hoodlum, all is well. Great location photography in this movie directed by Boris Ingster, who also helmed the opening night B title Stranger on the Third Floor, bringing us all full circle.

Edith Head Night!

All the way from Japan!

Eddie deviated from the A/B set-up for our benefit, scheduling two top-tier titles last Tuesday boasting costumes by Edith Head. (Not to mention also having producer Hal Wallis and stars Burt Lancaster and Wendell Corey in common.) Rosemarie and I were lucky enough to co-host the evening with him, and signed copies of Design for Dying provided by Phinney Books. I can tell you that having Eddie Muller tells a packed house, “Don’t be a chump! Buy the book!” moves a lot of units. Our lovely friend Etsuko Tamazawa, who travels all the way from Japan to attend Noir City fests up and down the West Coast, brought us an astonishing gift: a Design for Dying sake barrel complete with inscribed cups, which were on the table as we signed books.

As for the movies, Desert Fury (1947) remains a delirious Technicolor fantasy, an overheated melodrama with only the vaguest ties to noir. And who cares, when it features a gay subtext that soon becomes text and a Lizabeth Scott sulking montage demanding multiple wardrobe changes that shows Edith Head at the height of her powers? I’m thrilled we introduced many people to Sorry, Wrong Number (1948), a dizzying piece of construction from writer Lucille Fletcher and director Anatole Litvak that is a truly underrated masterpiece of suspense.

The Professor and Mary Ann (aka And The Rest)

I always forget how effective Victor Mature is playing a big city sharpie in 1941’s I Wake Up Screaming – and still wish his co-star Laird Cregar had lived long enough to play Nero Wolfe ... Woman on the Run (1950), also now on DVD, gets better every time I see it ... Edith Head’s costumes for Veronica Lake in This Gun for Hire (1942) didn’t disappoint, but I tip my hat to the milliners responsible for the essential-to-the-plot hats in Phantom Lady (1944), starring local gal Ella Raines ... Dead Reckoning (1947) always seemed like middling Bogart to me, but it played great this time, while the big screen did no favors for the synthetic The Dark Corner (1946) ... The way Max Ophuls uses the wind in The Reckless Moment (1949) ... Night Editor (1946) is essentially the first Joe Eszterhas movie. And I already can’t wait for next year.

Extra, Extra! Noir City!

The Spring 2016 issue of the Film Noir Foundation’s house rag hit the streets earlier this week, bringing its usual bounty of top-notch scribblings.

Front and center this time out is a remarkable piece from new contributor John Wranovics, detailing the amazing true story of the U.S intelligence community’s role in the birth of Italian neo-realism. Our stalwarts are well-represented: Jake Hinkson looks at Rudolph Maté and his singular directorial achievement D.O.A.; Imogen Sara Smith considers Douglas Sirk’s dark side; Steve Kronenberg salutes the silken menace of George Macready; Brian Light revisits Peeping Tom, still disturbing after all these years; and Kelly Vance sizes up the latest from Arturo Ripstein, the lucha noir Bleak Street.

I’m not sitting this one out. In addition to my Cocktails & Crime column, I take on the duty of our Prime Cuts feature and confess my long-standing love for Robert Towne’s other L.A.-set noir, Tequila Sunrise.

Want in on the action? Donate to the Film Noir Foundation for a copy and an opportunity to win the new Flicker Alley DVDs of two FNF restorations, Too Late for Tears and Woman on the Run. None other than Leonard Maltin raved about them. Get thee to thy wallet post haste.

The Lasting Legacy of Roy Huggins

NOTE: This post is my contribution to the Detectives and Dames blogathon hosted by Flicker Alley in advance of the May 10 release of Too Late for Tears (1949) and Woman on the Run (1950) on Blu-ray/DVD. Other posts hosted by Flicker Alley are here, and this piece will be linked there later in the week.

You can preorder Woman on the Run and Too Late for Tears now. The Film Noir Foundation spearheaded the restoration of both films, and the bountiful extras included commentary tracks by my FNF colleagues Eddie Muller (Woman on the Run) and Alan K. Rode (Too Late for Tears).

You know the work of Roy Huggins, even if you’ve never heard his name. Huggins, who wrote both the screenplay for the newly-restored Too Late for Tears (1949) and the serial on which it was based, is one of the stealth giants of twentieth century pop culture, leaving his fingerprints everywhere. He’s the Stan Lee of network television.

He began as a novelist, debuting with a 1946 novel called The Double Take that aped Raymond Chandler so shamelessly Chandler himself admired it. The book was filmed two years later as I Love Trouble, with Franchot Tone as wisecracking shamus Stuart Bailey. It boasts gorgeous dames a’plenty, noir favorites like Raymond Burr and Steven Geray, and a corkscrew plot that, as in many a Chandler yarn, ultimately proves irrelevant. Huggins adapted the book himself, quickly realizing Hollywood was where a writer could take down the big money. He’d script several other underrated noir titles. 1954’s taut Pushover gives the lie to the belief that Fred MacMurray never strayed to the dark side of the street again after Double Indemnity. Ida Lupino is menaced by her new husband who’s only interested in the family mill in Woman in Hiding (1950), which dutifully follows Chekhov’s dictum that if a hydroelectric turbine is mentioned in Act One, it must be turned on in Act Two.

It was in television, though, that Huggins would truly leave his mark. Among the series he created are several with outsized footprints. Maverick and The Fugitive were both rebooted for the small and big screens, while a feature film based on his jazzy Los Angeles private eye show 77 Sunset Strip has been in development for years. Sunset’s lead detective? None other than The Double Take’s Stuart Bailey, given new life. Crime novelist Max Allan Collins, long a Huggins admirer, observed that The Double Take is “undoubtedly the most filmed private eye novel ever.” Huggins recycled its plot on many of the series he worked on, even transposing the action to the Old West for Maverick. When you’re as prolific as Huggins was, you’re not going to get too precious about reusing a story that works.

Huggins’ name came to mean something else inside Hollywood’s corridors of power. He’d gotten shafted on a number of shows he created, the most legendary example a story that sounds like something out of Hail, Caesar! Studio chief Jack Warner arranged for the pilot episode of 77 Sunset Strip to be released theatrically in the Caribbean, a dodge enabling the studio to claim the series was based on a movie and not Huggins’ original Stuart Bailey stories. Fed up, Huggins had ownership of all the concepts he created written into his contracts, a practice other producers soon followed.

What cements Roy Huggins’ Hall of Fame status is his work as a mentor, with one writer in particular. TV titan Stephen J. Cannell (The A-Team, Wiseguy, 21 Jump Street) called Huggins “my Godfather in this business,” saying “during the two-and-a-half years I sat in his office, or in screening rooms, or at lunch discussing script problems with him, I learned more about the process of writing and producing television than I have in the entire twenty years since ... He was the one who showed me how to do it. He was the one who taught me how to fix a bad piece of film or plot a script so each scene is more interesting than the one that came before it.” Together, Cannell and Huggins co-created the perennial The Rockford Files, re-teaming Huggins with Maverick star James Garner. Many of today’s top television auteurs came through Cannell’s system, filtering Huggins’s storytelling lessons through to an entirely new generation.

Too Late for Tears is easily Huggins’ greatest achievement in his relatively brief movie career. His casually diabolical script prefigures A Simple Plan as young L.A. marrieds Lizabeth Scott and Arthur Kennedy accidentally come into possession of a hefty extortion payoff. As Scott’s avaricious tendencies get the better of her, the blackmailer (Dan Duryea) comes calling. It’s unquestionably Liz Scott’s finest hour, but good luck taking your eyes off Duryea, who saunters onto the screen all rancid insouciance and ends up timid and broken before La Scott.

The surprise, then, is that Huggins didn’t care for the finished film. He even assumed some of the blame himself. “I hated the movie (producer Hunt Stromberg) made from my script,” he said. “It was intended to be a suspense movie ... It was a bad movie because it was badly directed – and possibly badly written, but in view of the lethargic direction, how could you tell?”

Rapturous reactions to the Film Noir Foundation’s restored version indicates that on this score, Huggins was wrong. But he can be forgiven, considering he got so much else right.

Movies: 15 for ‘15

First and foremost, here’s wishing a happy new year to all my loyal readers. Great to see both of you here!

I’m hoping to post a bit more frequently in 2016 – be warned that more than a few of those posts will be about my debut novel Design for Dying, co-written with my wife Rosemarie under the pen name Renee Patrick and being published in April – and, figuring there’s no time like the present, decided to get things started right away. Herewith, a survey of my favorite films of the year just ended, in a somewhat vague order of preference.

Mad Max: Fury Road. Throughout college, I’d argue with all comers that George Miller’s post-apocalyptic films made a better trilogy than the original Star Wars. In a year when both franchises came roaring back, my heart remains true.

The Big Short. The biggest surprise of the year. Righteously angry, richly funny.

’71. Ceaseless white-knuckle suspense as a British soldier spends a harrowing night trapped in Catholic Belfast during the height of the Troubles.

Spotlight. You don’t have to be an Irish Catholic former altar boy from the Northeast who went into journalism to appreciate this film. But it helps.

Saint Laurent. Bertrand Bonello’s sprawling, hallucinogenic biopic of the designer (not to be confused with the more sedate, authorized version which preceded it by several months) casts a spell.

Office. Johnnie To directs a musical about the financial collapse of 2008. Also the strangest moviegoing experience of the year, in that Rosemarie and I were the only people in the theater.

The Man From U.N.C.L.E. Maybe never seeing a minute of the TV series helped. When every other movie seems to be about building or protecting the brand, it was a relief to see one hell-bent on feeling gleefully offhand. (The boat chase is a thing of wonder.) A stylish movie that is about style – Henry Cavill wears a blue 3-piece windowpane plaid suit that’s like a special effect – and Daniel Pemberton’s soundtrack is one of the year’s great accomplishments. If they won’t make any more of these movies, I hereby volunteer to write a series of tie-in novels featuring the Cavill/Hammer/Vikander/Grant team.

The Gift. Classic noir in modern duds, served up by Joel Edgerton.

Trainwreck. Amy Schumer’s script is tough on her character while not skimping on jokes. Plus, Mets references aplenty!

Magic Mike XXL. The original film was my favorite of its year. The sequel is looser, more shambolic, and even funnier.

Steve Jobs. Uncut, prison-grade Aaron Sorkin and a dazzling Michael Fassbender performance.

Iris. Documentary master Albert Maysles’ final film is, fittingly, about staying curious and true to yourself – and looking good while you do so.

Love & Mercy. A daring dual turn by Paul Dano and John Cusack as Brian Wilson, with Elizabeth Banks carrying the day.

Phoenix. If I’m undervaluing a title on this list, Christian Petzold’s melodrama may be it. At times too sedate for its own good, but Nina Hoss is transcendent – and the final moments are absolutely shattering.

Mr. Holmes. A meditation on memory and regret, filtered through one of the most iconic characters of all time.

Keenan's Klassics: It's a Shane Black Christmas

From December 2009, the first Renee Patrick collaboration. As timely as ever: that’s clearly a Christmas tree behind Russell Crowe in the final scene of the hilarious red band trailer for Shane Black’s upcoming THE NICE GUYS.

There I am at my favorite watering hole, talking with the staff, when the subject of Christmas movies is raised.

First suggestion, not made by me: the traditional double-bill of Die Hard and Die Hard II: Die Harder.

Thus giving me the tenor of the conversation. This is not the time, perhaps, to mention Remember the Night and Holiday Affair, two overlooked films (with noir connections!) that Turner Classic Movies has labored to turn into Yuletide staples. Although a mention of Blast of Silence, full of Wenceslas wetwork, might not be out of the question.

So I lobby for my own Christmas favorite, The Ref. And then observe, not for the first time, that the entire oeuvre of Shane Black – Lethal Weapon, The Last Boy Scout, The Long Kiss Goodnight, and Kiss Kiss Bang Bang – is set at the most wonderful time of the year. (Editor's note, 2013: You can now add IRON MAN 3 to that roster.)

Therefore, as you venture out for that last round of shopping, I offer, by popular demand, what has become a VKDC tradition. (“By popular demand” meaning Rosemarie asked, “Why haven’t you posted this yet?” And she did write most of it.) Here, once again, is Shane Black’s 12 Days of Christmas. Record your church group performing this and we’ll post the video here!

Twelve cars exploding
Eleven extras running
Ten tankers skidding
Nine strippers pole-ing
Eight Uzis firing
Seven henchmen scowling
Six choppers crashing

Five silver Glocks

Four ticking bombs
Three hand grenades
Two mortar shells
And a suitcase full of C-4

God bless us, everyone. Or else.

Miscellaneous: California? Sweet!

Rosemarie and I are already hard at work on the second book in the classic Hollywood mystery series featuring Edith Head we’re writing under the name Renee Patrick. (Design for Dying, book number one, comes out from Macmillan’s Tor/Forge Books in April 2016. People are camping out already! Not for our book. They’re just, you know, camping out.) The time had come, we’d decided, for some field research. Say a trip to Los Angeles, followed by a jaunt up the coast for the opening weekend of the thirteenth Noir City Film Festival in San Francisco.

It’s a time-honored Hollywood tradition: if your journey begins with the sighting of a star, then fortune will smile upon you. We sit down for our first breakfast and who should be at the next table but Commander Adama himself, Academy Award nominee Edward James Olmos. (Who am I kidding? He’ll always be Lieutenant Castillo to me.) Already we were in clover.

Our initial post-Olmos stop was a key reason for making the trip now: we wanted to see the mammoth Hollywood Costume exhibit before it closes. Presented by the Academy of Motion Picture Arts and Sciences and the Victoria and Albert Museum, London, it’s a stunning show, with dramatic staging of over 150 movie costumes; Marlene Dietrich in Morocco lights a cigarette for Catherine Tramell (Basic Instinct) as L.A. Confidential’s Lynn Bracken looks on. Our heroine Edith Head is well represented, with her iconic green suit worn by Kim Novak in Alfred Hitchcock’s Vertigo on display. The immersive section on costume design as collaboration features a dazzling “conversation” among Edie, Hitch and Tippi Hedren about the clothes in The Birds. The craft of the costume designer is explored in detail in this decades-spanning exhibit. (Later we were fortunate to spend time with its curator Deborah Nadoolman Landis, the acclaimed costume designer of Raiders of the Lost Ark – and even more impressively, the person responsible for the wardrobe in longtime Chez K favorite ¡Three Amigos! Given those credentials I’m amazed I was able to ask any questions, but somehow I managed.)

Hollywood Costume runs through March 2, which roughly coincides with the closing date of Light & Noir: Exiles and Émigrés in Hollywood, 1933-1950 at the Skirball Cultural Center. This exhibition focuses on the role of filmmakers who fled Nazi Germany in the production of the glittering comedies and dark dramas of the Golden Age of Hollywood. More costumes are included in this show, which also merits a visit.

The primary purpose for our expedition was to set foot on Edith’s old domain: Paramount Pictures, the studio where she spent the majority of her career. To our delight, Paramount’s archivists welcomed us with open arms – “Edith would have loved being in a mystery novel,” we were told – and gave us a full tour. The high point was undoubtedly the costume archive, 80% of which consisted of Edith Head originals. To be in the same room as, say, Barbara Stanwyck’s beaded bolero jacket from The Lady Eve and inspect it in detail was enough to induce lightheadedness.

Paramount's Bronson Gate

Edith willed her estate to the Academy, so our final destination was the Margaret Herrick Library to look at her papers. It’s impossible to convey the thrill of holding a letter on Alfred Hitchcock’s personal stationery – signed ‘Hitch,’ naturally – in your hands. I’d heard that furniture from Edith’s house had been placed in the Herrick’s Special Collections reading room, so before leaving I asked which pieces were hers. “That table you’ve been sitting at all day, for one,” the librarian said. Truly the power of Olmos was strong.

Some time at Noir City San Francisco was mandatory, given the Seattle iteration of the festival is on hiatus pending a move to the Cinerama. This year’s theme is marriage, with your humble correspondent penning the companion article in the latest issue of the Film Noir Foundation’s magazine. Rosemarie and I christened the opening weekend at Trick Dog, recently named one of the fifty best bars in the world – love that Chinese menu; try the #2 – then strolled to the Castro for the premiere of a new 35mm restoration of an old favorite. In 1950’s Woman on the Run, Ann Sheridan’s estranged husband witnesses a mob killing and goes on the lam. When slick newspaperman Dennis O’Keefe encourages her to track her wayward spouse down, Ann discovers new facets to her old man and falls for him all over again. Shot in San Francisco, the movie played like gangbusters to a capacity crowd, with master of ceremonies Eddie Muller cagily adding a then-and-now featurette spotlighting the locations.

This is the the jacket we saw. Up close.

Up next, the first in a mini-tribute to actress Joan Fontaine. Born to be Bad (1950) casts several actors against type. Usual cad Zachary Scott is a decent if obscenely wealthy man, Robert Ryan shines as a cocky writer (“Seen the view? It’s better with me in it”), and Mel Ferrer does his best George Sanders as a cynical social climbing painter. They all flutter around Christabel Caine, and alas our Joan was a bit long in the tooth to play a scheming ingénue, leaving a void at the film’s center. Still, director Nicholas Ray keeps the melodrama at a steady boil and it was fun to see the original ending deemed too scandalous for release.

The experience left me wanting Fontaine at her best, and one of my rules is never pass up Hitchcock on the big screen, so that meant a Saturday matinee of her Oscar-winning turn in Suspicion (1941). We skipped Joan in the sturdy 1953 issue film The Bigamist – a boy’s gotta eat – and returned to the Castro for a signing of the Noir City 2014 Annual, featuring work by yours truly, FNF honcho Muller, our Los Angeles sightseeing companion Christa Faust, Duane Swierczynski, Wallace Stroby, Jake Hinkson and plenty more. Look for it at Amazon soon. Joanie was back and at her bitchy best in the find of the festival: 1947’s Ivy, an Edwardian chiller with Fontaine as a fortune hunter with a husband, a lover, and her eyes on an even bigger prize. She’s in her element here, Ivy’s discreet villainy perfectly tailored to her sensibilities. More Edwardian noir followed with Robert Siodmak’s The Suspect (1944), an elegant and heartbreaking gloss on the infamous Dr. Crippen case boasting a magnificent Charles Laughton performance.

Christa Faust, ace designer Michael Kronenberg, yours truly, and Edwardian gent Eddie Muller at the Castro book signing

Sunday’s double-bill spotlighted suspense from that maker of sudsers supreme, Douglas Sirk. The script for Shockproof (1949) was watered down considerably from writer Samuel Fuller’s original version; no doubt two-fisted Sam’s take on the story of parole officer Cornel Wilde falling for one of his charges (Patricia Knight) and into a heap of trouble would have been considerably meaner. A minor film, but on this viewing I was able to appreciate how Sirk’s supple direction preserved the remaining Fuller touches. Sleep, My Love (1948) is gossamer in the Gaslight mode, with Claudette Colbert being manipulated by husband Don Ameche into thinking she’s down to her last few marbles so he can run off with Hazel Brooks, as gorgeous as she is surly. Claudette’s only hope is the relentless charm offensive mounted by Robert Cummings. Oh for the days when a movie’s main characters could be an imperiled socialite and a globe-trotting adventurer. Sleep is Sirk at his best, a film that’s all surface pleasures and no less an achievement because of them. It was the perfect ending to our California swing.

Noir City runs through this Sunday at the Castro. May the blessings of Edward James Olmos be with you all.