During this hyperextended quarantine, I continue to make interesting discoveries. Late one night, Turner Classic Movies (TCM) put on a double bill of noir films from Nikkatsu Studios.
Nikkatsu? I had heard of Toho, Shochiku, Diaei, and Tohei … but never Nikkatsu. After a quick look at Google, I found that Nikkatsu was actually the oldest studio in Japan, founded all the way back in 1912, three years before D.W. Griffith filmed Birth of a Nation.
I began to look at I Am Waiting (1957), but as the hour was late and I was tired, I reluctantly prepared for sleep.
But then, I discovered that the TCM website has a Watch Now option. When you select Watch Movies, you have available to you virtually all the recently shown films on the channel, including cartoons and shorts. The only requirement is that you subscribe to a service on your TV that carries the TCM channel: There is a login required.
A Scene from A Colt Is My Passport (1967)
I was delighted to find that both I Am Waiting and A Colt Is My Passport were available through the website. Thereupon I watched both films and was delighted that I persevered in searching them out. Not only that, but I bought the Criterion Collection’s Nikkatsu Noir series of five films, which included the above titles but three others that I plan to watch in the weeks to come.
Film noir has traveled from the United States to France (the films of Jean-Pierre Melville), England (the original Get Carter with Michael Caine), and Japan.
Of late, I have become addicted to TCM’s Noir Alley, which screens Saturday at midnight and Sunday at 9 am (both times Eastern). It was my friends Alain Silver and James Ursini who introduced me (and most Americans) to the genre with their books on the subject. Now that I am retired, I have pursued the subject on my own, both in films and literature. Eddie Muller, host of Noir Alley, shows an interesting array of noir films and provides excellent introductions and background info—when he is not plugging wines for the TCM Wine Club.
Last night, for example, he screened Too Late for Tears, a 1949 United Artists film on how the prospect of money can warp one’s thinking and emotions. Directed by Byron Haskin, the film stars Lizbeth Scott, Dan Duryea, Arthur Kennedy, and Don DeFore. Although the film tanked when it was first released, it is worth a second look; and now that a restored print has been created by the wizards at the UCLA Film Archive, such a second look is now possible.
Pressbook for Too Late for Tears (1949)
Aside from Too Late for Tears, the noir films I have seen on Noir Alley in the last few months have included, in the order I’ve seen them:
Odds Against Tomorrow (1959) directed by Robert Wise, starring Robert Ryan and Harry Belafonte
The Hunted (1948) directed by Jack Bernhard, startring the strangely beautiful Belita
The Sniper (1962) directed by Edward Dmytryk, about a misogynist serial killer
The Threat (1949), directed by Felix Feist, with Charles McGraw as an escaped murderer bent on revenge
The Big Heat (1953), directed by Fritz Lang, perhaps one of the very best noir films ever made
Many of the films shown are pictures you’ve probably never seen or heard of, yet all are interesting explorations of the underside of the American psyche. I look forward to seeing what Muller selects from week to week.