ON HIATUS ... or something like that



My blog posts for ONE WAY STREET will be missing in action as I attempt to complete my biography of Michael Curtiz in 2015.


I have several terrific events coming up in 2015: NOIR CITY Hollywood at the Egyptian Theatre April 3-19,  The 16th Annual Arthur Lyons Film Noir Festival in Palm Springs, NOIR CITY Chicago in the month of August and most exciting, I’ll be producing and hosting the first annual Palm Springs Classic Science Fiction Festival on October 21-23 at the Camelot Theaters.


Best Regards,




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

Posted by on in Authors and Writers
  Effective screenplay writing is a distinctly different skill than the craft required to compose novels and stories. No one understood this better than the late William (Bill) Bowers, who was among the elite screenwriters and script polishers in Hollywood for many years. According to Bill, in a 1980 interview with Jean W. Ross, heralded novelists including F. Scott Fitzgerald and William Faulkner, never could write good screenplays on their own because of an inability to, " visualize things, to imagine how it was going to play". He added, "They never had to confront that in writing novels." Bowers' work has been on display at the 8th Annual Festival of Film Noir with the epochal Pitfall (1948), last evening with The Mob (1951) and closing the festival next Wednesday with Abandoned (1949). Bill's best work was characterized by witty, biting and often dyspeptic dialogue. His prose proved to be a perfect...
©Alan K. Rode

Posted by on in Actors and Actresses
  One of filmdom's most lovely and gracious stars, Coleen Gray, was on hand at the Egyptian Theatre Wednesday night for a double bill screening of The Killing (1956) and The Sleeping City (1950). Since being featured in Eddie Muller's book, Dark City Dames six years ago as one of the authentic film noir femme fatales, Coleen has jointly appeared with Eddie for Q&A sessions at numerous screenings of her pictures at venues in San Francisco, Palm Springs and here in L.A. I was tickled to death to interview Coleen between the films yesterday evening and become a supporting player in what has become an enduring, dark tradition. The Killing (1956) is my definition of a classic film; I 've seen it at least 15 or 20 times and never tire of it, feeling exhilarated and renewed with each viewing. There is nothing to criticize. The Killing marked Stanley Kubrick’s emergence...
coleen gray
©Alan K. Rode

Posted by on in Film Noir Events
  “The apes have taken over — while we were busy watching television and filling our freezers, they’ve come out of the jungle and moved in!” That line is definitely not the stereotypical 1950's movie denouement particularly when it is uttered by the stolidly full-upright Frank Lovejoy about Communism in Shack Out on 101 (1955) that screened last night at the Aero Theatre in Santa Monica. As Sterling Hayden unsuccessfully tried to quantify for Timothy Carey what type of crime shooting a racehorse is in The Killing (1956); " a matter of fact, I don't know what it is...", I have the same dilemma attempting to describe just what type of movie Shack Out on 101 (1955) actually is: film noir, melodrama, high camp, comedy, none of the above, all of the above??? By whatever genre, the picture is a unique, well acted, uproarious hoot. Shack out on 101 is the...
©Alan K. Rode