There is an extraordinary amount of writing out there about “seminal” films. These are movies which are rightly adjudged as works of art like Citizen Kane, films that initiated a style as Double Indemnity did for film noir or a picture that captured a...
There are few performers around that exude the instant recognizability that compresses multiple generations of movie lovers into a solitary entity of affection and respect as does Robert Loggia. I must confess that I immediately succumbed as well. When Bob and his...
I knew Richard Anderson had an impressive acting resume, but I didn’t know how impressive a person he was until I met him Sunday night about an hour before the screening of The People Against O’Hara (1951). Nattily attired in a beige jacket with scarf, we...
As the actors who became personal touchstones during my youth continue to depart this mortal coil due to the inevitability of time, I usually attempt to place their passings into a philosophical perspective (unless I knew them personally) despite the pangs of inner...
Peggy Webber’s part in The Wrong Man (1956) was a brief, but important scene as an insurance company clerk who wrongly identifies Henry Fonda as an armed robber. Her erroneous conclusion provided the impetus that propels an innocent Fonda into the bowels of...
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...
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...
“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...
The Saturday night double feature at the Noir City Festival in Hollywood led off with a screening of The Glass Wall (1953). This seldom seen film, with a near-faultless print courtesy of Sony-Columbia, provided a unique view of Times Square at night, as a hurt World...
The L.A. Film Noir Festival really gained traction this week with some superb screenings and great attendance for the hypercompetitive Tinseltown movie market. Thursday’s double bill at the Egyptian was Cry of the City (1948) and City of Fear (1959). The former...