Cleveland City: The Screenplay

Each time I watch The Third Man I discover something new. This past weekend, while catching the third act of this classic Noir, I came across two new observations:           1. Scorsese paid homage to a key post-funeral scene by replicating the same scene in The Departed (more on that in a upcoming blog)           2. The physical and visual intensity of our protagonist running around and then trying to get out of the post-war Vienna sewer while he's being chased by military police is a beautiful metaphor for many of our favorite Noir characters: even if they are not in the sewer itself, their moral compass certainly is. Orson Welles, as Harry Lime, who waters down medicine that then kills the very children whose mothers survived the bombs, is both monster and charmer. Charming monsters are the scariest. Because they live their lives keeping one foot in the sewer while the other (to parap...

I love Film Noir.  Classic Noir. Neo Noir. Scandinavian Noir. All of it. I can watch Double Indemnity , The Usual Suspects and The Girl With the Dragon Tattoo (both versions) over and over again and with each viewing learn something new, something I missed on the previous dozen viewings of those films. What I love about Noir is that it juxtaposes nefarious behavior with love, crime with passion, theft with grit. To the uninformed it's a great escape of superiority: we watch others behaving badly and then we feel good about our lives. But if we give it the care and respect it deserves, Noir opens up the complexity of the human condition. We are all flawed. We are all lovers and thieves and some of us had to steal for love. Some of us loved only to be robbed. Out of our time, our dignity, our truth. While the "nothing is what seems" premise that drives so much of this genre may seem trite on surface, most of us have absolutely no clue of what's going on behind...