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.
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.
|Paramount's Bronson Gate|
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.|
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|
Noir City runs through this Sunday at the Castro. May the blessings of Edward James Olmos be with you all.