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ONE WAY STREET

Alan's sporadic takes on Film Noir and other aspects of pop culture

Posted by on in Actors and Actresses
I was deeply saddened to learn of the recent passing of Rose Freeman aka Joan Taylor who was a featured actress in movies and television from 1949 until her retirement in 1963. Rose was a special lady and we had a rather unusual relationship that began over five years ago. I was wrapping up my Charles McGraw biography manuscript but wanted to learn more about one of his movies, Warpaint, an interesting Western that he appeared in 1952 after leaving the contractual confines of RKO studios. Rose, or I should say Joan, played an Indian woman who helped make life extremely difficult for a thirst-crazed Army cavalry detachment led by Robert Stack and a pipe-smoking McGraw with Peter Graves, Robert J. Wilke, Walter Reed, Douglas Kennedy, and Paul Richards lending able support. I briefly wondered how the sole woman in the cast managed to cope with such a robust ensemble of...
joan taylor
©Alan K. Rode
To inaugurate my new and improved ONE WAY STREET blog and web site, I am posting my introduction to THE BIG COMBO and PITFALL double feature when I presented on Wednesday night at the Million Dollar Theatre in downtown L.A. While I was crossing the street at the corner of 3rd, I gazed across Broadway at the Bradbury building and realized that this was where Edmond O'Brien, wracked with pain from luminous poisoning, staggered to his rendezvous with destiny in D.O.A. This was also where Lon Chaney Jr., recently revived from the San Quentin gas chamber, murderously prowled for "Squeemy Ellis" in Indestructible Man and where Jack Lemmon parked his T-Bird filled with ladders, paint, and Romy Schneider to deface a billboard in Good Neighbor Sam. This was also the same real estate where Harrison Ford was assigned to hunt replicants in Blade Runner (1982). I was treading on cinematic hallowed...
Million Dollar Theatre
©Alan K. Rode

Posted by on in Film Noir Preservation
Although One Way Street has been on an extended hiatus because of my on-going Michael Curtiz biography and a medley of other unapproved excuses, I have returned - a cyber-Lazarus - to proselytize for the cause of film preservation, specifically film noir preservation. It’s been almost a decade since the Film Noir Foundation was formulated around Eddie Muller’s kitchen table. The Foundation came into existence partly due to the collective frustration of not being able to locate desired films to screen at the annual film noir festival in Los Angeles and the recently constituted Noir City fest in San Francisco. The deeper motivation was the fear that these wonderful, darkly etched movies might simply disappear. Forever. 35mm movies are potential kin to the dinosaurs. Bluntly put, there is no universal system or program towards preserving our cinematic heritage. When a film is “lost” or beyond technical redemption; a portion of our...
soundoffury
©Alan K. Rode

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