Thursday, January 15, 2015

Extra, Extra!: Noir City

The winter 2015 issue of Noir City, house rag of the Film Noir Foundation, is out now. Let me warn you in advance: I am all over this bad boy.

Firstly, I’m responsible for the cover story, a long-overdue reappraisal of the films of Alan Rudolph. That striking image is drawn from Rudolph’s Remember My Name, a reimagining of the classic “women’s films” of the 1940s that is one of the most neglected movies of the 1970s. It’s now in the nascent stages of a renaissance thanks to a recent screening at the Brooklyn Academy of Music, Geraldine Chaplin’s performance receiving the accolades it deserves. Rudolph’s signature contribution to noir is the one-of-a-kind riff on the form Trouble in Mind, filmed in Seattle and celebrating its 30th anniversary in 2015. But noir is a thread that runs through much of Rudolph’s filmography:

Rudolph relentlessly toys with the form, combining its component parts to tell idiosyncratically fanciful, open-hearted stories. “Fanciful” and “open-hearted” aren’t words customarily associated with noir, and therein lies Rudolph’s singular talent. The French, as they so often do, have a word for it: gleaning, the practice of picking over a field that has been harvested and finding enough viable material to survive. Alan Rudolph is an unparalleled gleaner of film noir, digging into terrain often dismissed as played out and discovering fertile pockets, appropriating images, techniques and moods for his own purposes.

Accompanying the survey of Alan Rudolph’s films is a wide-ranging interview with the man himself. Rumors abound that this interview was arranged when a Noir City correspondent gatecrashed an academic conference while wearing a lanyard from an unrelated event so he could brace Mr. Rudolph; I will not dignify those scurrilous tales with a response. The interview was conducted via email, Rudolph using my questions as a jumping-off point to construct something off-kilter, insightful and uniquely his own –

When people say a certain movie is real they mean it’s told as if real. It’s still a representation, a dream. I see no singular defined reality in the entire film experience. On either side of the screen. Film is its own reality, a living thing. Whether you’re the director or in the audience of a dark palace, your personal experience is the reality of that film. A film doesn’t exist if no one is there to see it. Ask the tree in the forest about that.

I’m enormously happy with how this piece came out.

Also in this issue: ‘Til Death Do Us Part, my overview of marriage in film noir. It’s intended as something of a companion piece to the 13th Noir City Film Festival, which focuses on the darker side of the matrimonial bond. Several of the movies unspooling at San Francisco’s Castro Theatre from January 16-25 are referenced, but the subject is so broad I could have gone on forever. NOTE: On Saturday, January 17, I’ll be at the Castro along with ace designer Michael Kronenberg, the one and only Christa Faust, and a host of other contributors to sign copies of the Noir City Annual.

But wait! There’s more! Like my usual cocktails-and-crime column, as well as a review of the new book Of All the Gin Joints: Stumbling Through Hollywood History, an illustrated tour of Tinseltown tippling.

I assure you, though, it’s not just me in this issue. Behold this stellar line-up:

- Mystery Writers of America Grand Master Lawrence Block (A Walk Among the Tombstones) lists his five favorite noir films

- Crime novelist Terrill Lee Lankford on the neo-noir classic Cutter’s Way

- Usual Noir City suspect Jake Hinkson on Wicked Woman and the off-screen union of star Beverly Michaels and director/co-writer Russell Rouse

- Imogen Sara Smith considers Gone Girl in the context of bad marriage noir

- FNF honcho Eddie Muller on the rescue of 1950’s Woman on the Run, the restoration of the film premiering at this year’s Noir City

And still there’s more! I’m telling you, people, it’s a bonanza.

How do you lay claim to this bounty? Go to the Film Noir Foundation, make your contribution to preserving America’s noir heritage, and the boodle gets dumped in your in-box no questions asked. What are you waiting for?