tag:blogger.com,1999:blog-2531345904528580427.post2987634147676517839..comments2024-03-24T20:01:47.103-07:00Comments on Hell On Frisco Bay: Night Editor (1946)Brian Darrhttp://www.blogger.com/profile/17693169310367670898noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-2531345904528580427.post-87564693268893772013-02-03T19:41:49.155-08:002013-02-03T19:41:49.155-08:00Inferno was excellent, Joe. I skipped Man in the D...<b><i>Inferno</i></b> was excellent, Joe. I skipped <b><i>Man in the Dark</i></b> because I'd seen it before in 35mm dual-projector 3D and wasn't that impressed with it.<br /><br />Marilyn, I really liked your piece on <b><i>High Art</i></b>, which was one of my favorite movies of the year back in 1998 (along with <b><i>The Thin Red Line</i></b> and <b><i>Rushmore</i></b> - since then I've seen some more excellent films from the year like <b><i>Flowers of Shanghai</i></b>, but expect I'd still appreciate Cholodenko's film on a revisitation). <br /><br />It's interesting to contrast the two-tiered production system of the 1930s-1940s studio era against the modern connection between major Hollywood studios and their indie distribution arms. Since the classic B-movies were not expected to garner prestige but were expected to be profitable, while modern indie films often are made without much concern for profit but rather to aid the long-term careers of participants, the two systems seem to have more differences than similarities. But I'd like to learn more about both models. Perhaps the books Larry mentioned would be good start, at least for the classic-era system.Brian Darrhttps://www.blogger.com/profile/17693169310367670898noreply@blogger.comtag:blogger.com,1999:blog-2531345904528580427.post-16123039015917368402013-02-03T18:56:58.097-08:002013-02-03T18:56:58.097-08:00Agree Night Editor is a gem and Janis Carter is re...Agree Night Editor is a gem and Janis Carter is really something in it. I thought today's Mary Ryan Detective was a surprising treat. I recommend two books if you can find them: B Movies by Don Miller (1973) and Second Feature by my friend John Cocchi (1991)Anonymoushttps://www.blogger.com/profile/14847533854297507334noreply@blogger.comtag:blogger.com,1999:blog-2531345904528580427.post-85128822075235385102013-02-03T11:52:52.105-08:002013-02-03T11:52:52.105-08:00Seconding Ms. Ferdinand's recommendation for N...Seconding Ms. Ferdinand's recommendation for Night Editor to be included in Noir City Chicago's program. The 3D films were interesting in SF this year, if a wee bit headache inducing (maybe its my aging eyesight). The sultry August nights for the Chicago incarnation beg for some good 'B'.<br /><br />joe dombrowskihttps://www.blogger.com/profile/13109710996954748188noreply@blogger.comtag:blogger.com,1999:blog-2531345904528580427.post-26933005152754357902013-02-03T10:24:08.519-08:002013-02-03T10:24:08.519-08:00The true film buff loves them some B movies. I agr...The true film buff loves them some B movies. I agree that lower budgets call for more ingenuity, and truly creative production teams made the most of them. That is as true for our Poverty Row faves as for indie films today. I recently sung the praises of a 1998 indie film, <i>High Art</i>, for making a virtue of its low budget in producing more realistic settings for its action. I hope this film makes it to Noir City Chicago; it doesn't seem fair that you've gotten it three times, and we not even once!Marilyn Ferdinandhttp://www.ferdyonfilms.comnoreply@blogger.com