If the sheer number of Leonard adaptations is remarkable, what is more remarkable still is how few of them are any good.
No one was more aware of, or blunt about, this disappointing onscreen record than Leonard himself. His first crime novel, The Big Bounce
, was twice adapted for film, in 1969 and 2004. Leonard memorably described the earlier effort as the “second-worst movie ever made”; it was not until he saw the 2004 version, he later said, that he knew what movie was the worst.
posted by Rustic Etruscan
on Jan 3, 2014 -
The Big Sleep is a film I have found a very intense love for. The rotating cast of shadowy crooks and deceptive dames coupled with the roller-coaster plotting makes this classic movie endlessly entertaining. Bogart and Bacall are electrifying together and the supporting cast is equally captivating. Considering it’s over 60 years old,
The Big Sleep still works in a big bad way and feels fantastically modern. It’s as if the film is simply too fast and too entertaining to age. It was crafted by the hands of some of Hollywood’s finest artists at the time and oozes quality as a result. Most of all though, this movie is just pulpy, fearless, fun and really, really cool.
- Pictures and Noise [more inside]
posted by Trurl
on Apr 7, 2012 -
After 25 years I revisited To Live and Die In L.A. (1985), William Friedkin's cynical, fatalistic, hardboiled and high-energy crime noir about corruption and survival in the city of no angels. The script is literate, the characters are believable, the performances are brutally honest, the unpredictable twists keep coming, the action never stops, and the car chase is shot for real without any fake process. (spoilers)
posted by Trurl
on Nov 4, 2011 -
[Arthur Penn's Night Moves
] does belong to a traditional, indeed obsolescent genre, but the distance it keeps from it (not an ironic or critical distance, just a distance) is such that genre-related expectations become irrelevant. Most of the time, the story line seems to meander aimlessly, taking in extraneous material, doubling back, going round in circles (the aimless is deceptive, a smoke screen obfuscating the complex, rigorous organization of an exceptionally well-structured script). The "mystery" aspect of the plot is dealt with in the most peculiar, topsy-turvy manner, withholding not the solution of the problem but the problem itself until the very end, when, in a dazzling visual tour de force, both are conjured up almost simultaneously.
- Jean Pierre Coursodon [more inside]
posted by Trurl
on Oct 1, 2011 -
American audiences remember Akira Kurosawa
as the genius of the samurai epic, a past master who used the form both to revise and revive Western classics - Shakespeare with Ran
and Throne of Blood,
Dostoevsky with Red Beard
and The Idiot,
Gorky with The Lower Depths
- and to give splendid and ultimately immortal life to new archetypes, as in The Seven Samurai, Rashomon, Yojimbo.
But Kurosawa also made films of his own time. His masterpiece,
in fact, was the quiet story of a gray Japanese bureaucrat dying in post-war Tokyo, and of his attempt to do something of lasting good before he leaves. The film is Ikiru
("To Live"; 1952). [more inside]
posted by Iridic
on Jan 29, 2008 -
"But, it's a post on film noir!"
I told her. She jerked away from me like a startled fawn might, if I had a startled fawn and it jerked away from me. I knew that caving into my desires meant I might lose her. But I didn't care. I went out to the kitchen to make coffee
-- yards of coffee. Rich, strong, bitter, boiling hot, ruthless, depraved. I knew she'd be back. [more inside]
posted by miss lynnster
on Jan 11, 2008 -