By Karen Burroughs Hannsberry
Movie noir offers gritty tales and responsible viewing excitement. approximately ninety male actors of vintage movie noir titles of the Nineteen Forties and Nineteen Fifties are featured during this quantity. The researcher will locate the predicted (James Cagey, Humphrey Bogart, Robert Mitchum), the fewer popular (Morris Carnovsky, Douglas Fowley), and actors who go beyond the style (Kirk Douglas, Alan Ladd). the writer additionally wrote Femme Noir: undesirable women of movie (McFarland, 1988). For the hot quantity, she selected actors who've performed major roles in numerous movie noir releases, and seen 240 motion pictures so as to describe the plots and characters accurately.
Most of the amount treats those "bad boys" extensive, in A to Z entries starting from 5 to 12 pages in size. own lifestyles tales are intermingled with discussions of movies. whereas the emphasis is on noir, a few motion pictures outdoor the style are mentioned in the event that they are seminal to the actor (e.g., the Andy Hardy sequence for Mickey Rooney). A filmography and bibliography finish each one access. Black-and-white pictures support the reader determine person actors, a few of whom, corresponding to Jay Flippen and Gene Lockhart, could be remembered extra for his or her "mugs" than for his or her monikers. an extra 25 actors are given one-page remedies within the first appendix. one other appendix provides noteworthy strains, prepared by means of extensive subject reminiscent of "Regarding Dames," "Sizing Up the opposite Guy," and "Penetrating Put-downs" (e.g., Richard Widmark's line "I wouldn't provide the epidermis off a grape," from Kiss of Death). Following the overall bibliography, an index lists titles, names, and awards.
Depth instead of breadth is the main to this relaxing reference paintings, with the intention to be welcomed by way of the movie fan in addition to good because the researcher and is usually recommended for better movie collections.
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Extra info for Bad Boys: The Actors of the Film Noir
While this kind of situation is representative of the Holocaust experience of many women, Horowitz recognizes a different motivation in the decision to include it in the ﬁlm. ”41 Schindler’s List has proved that Hollywood’s Holocaust is bound by the straightjacket of convention and chronology. Assuming the audience knows nothing, the American Holocaust ﬁlm must show all, preferably in a neat time line, from the ghettos to the concentration camps, from the liberated concentration camps to the (implied) salvic closure of Israel.
Struk, Photographing the Holocaust, 183. 21. Mintz, Popular Culture and the Shaping of Holocaust Memory in America, 130. 22. Doneson, The Holocaust in American Film, 188. 23. Bartov, Murder in Our Midst, 168. 24. Rose, Mourning Becomes the Law, 45. 25. Wildt, “The Invented and the Real,” 244. 26. Manchel, “A Reel Witness,” 99. 27. Cole, Selling the Holocaust, 92. 28. Mintz, Popular Culture and the Shaping of Holocaust Memory in America, 141. 29. , 153. 43 sophia wood 30. 31. 32. 33. 34. 35. 36.
18. Manchel, “A Reel Witness,” 96. 19. Bartov, Murder in Our Midst, 170. 20. Struk, Photographing the Holocaust, 183. 21. Mintz, Popular Culture and the Shaping of Holocaust Memory in America, 130. 22. Doneson, The Holocaust in American Film, 188. 23. Bartov, Murder in Our Midst, 168. 24. Rose, Mourning Becomes the Law, 45. 25. Wildt, “The Invented and the Real,” 244. 26. Manchel, “A Reel Witness,” 99. 27. Cole, Selling the Holocaust, 92. 28. Mintz, Popular Culture and the Shaping of Holocaust Memory in America, 141.