Book Description
Welcome to Dark City, urban landscape of the imagination. A place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life. Eddie Muller, who led readers on a guided tour of the seamier side of motion pictures in Grindhouse: The Forbidden World of 'Adults Only' Cinema, now takes us on a spellbinding trip through treacherous terrain: Hollywood in the post-World War II years, when art, politics, scandal, style--and brilliant craftsmanship--produced a new approach to moviemaking, and a new type of cultural mythology.
Customer Reviews:
The only one you need.......2007-04-25
Hands down the best book on film noir. Enough facts for the academics and enough fun for the rest of us. Fantastic layout and though some have trouble with the hard-boiled writing style, I loved it and it comes from a master - check out Muller's novels too!
a brilliant and delightful book by eddie muller!.......2007-01-14
more than you ever knew about film noir, eddie muller plunges the reader into the dark and seamy side of hollywood. a fabulous history of film noir with rare and splendid posters, photographs, and insider stories that can only be found here and as only eddie can tell them.
i highly recommend this book. a must have for every film buff and serious collector.
All flash--a Tommy gun full of blanks.......2005-11-26
I will grant that film noir is mostly about style, that's film noir the thing in itself, not the explanation. Muller tries to write like the hard-boiled wordsmiths that helped give noir its flavor; but he adds so much useless patter as to give the impression that, like them, he is being paid by the word. In the end this book is about as satisfying as getting nicotine from a patch. The two stars are for the pictures.
As fast and stylish as its subject matter.......2005-10-02
When most noir-era directors are presented with what the critics have read into their films, they tend to laugh. What they were making-- as Muller points out-- were known as either crime dramas or murder dramas. They were made on the cheap, with their dark themes and fast pace borrowed from harboiled crime writing, and with lots of tricks learned from German Expressionism. They were stylish B-movies.
Finally, a book has come along that deals with these films and filmmakers pretty much on their own terms. -Highly visual and fast paced. Muller looks at subgenres and trends, but focuses more on looking at the often tortured lives of the people who made these films, and on the turbulent period in Hollywood that the 40s and 50s were.
One of my favorite film books, period.
Maybe a little too cute for it's own good.......2005-05-22
I love this book, with it's short and easy to read vignettes about a wide variety of films, actors and subjects within the Film Noir genre. The pictures are great, and all the salacious details are served up. However, sometimes the prose runs to "too cute"; a little too impressed with it's own smirky coyness. Needless to say, many subjects are not explored in any kind of depth. Other than that, it's a great introduction and contains a wealth of details about my very favorite subject.
Amazon.com's Best of 2001
Penzler Pick, August 2001: Two years ago, I wrote a book titled 101 Greatest Films of Mystery and Suspense. In addition to watching every one of those movies again (not exactly a horrendous ordeal), I did tons of research, flipping through or reading more than a hundred books about film. The best book--the one with the most offbeat stories and anecdotes, the most accurate information, and the most entertainingly written--was Dark City by Eddie Muller. It was a fascinating study of the great films noir, and a page didn't go by without my learning something.
Now Muller is back with Dark City Dames. It's a very different kind of book, not offering the big-picture overview that Dark City did, but it's nearly as fascinating. It's a portrait of six of the greatest femme fatales of the wonderful black-and-white crime movies that filled the screens in the 1940s and '50s: Jane Greer (the star, with Robert Mitchum, of Out of the Past and The Big Steal), Marie Windsor (The Killing, The Narrow Margin), Ann Savage (Detour), Evelyn Keyes (The Prowler, Johnny O'Clock), Audrey Totter (The Lady in the Lake, The Unsuspected), and Coleen Gray (The Sleeping City, Kiss of Death, Nightmare Alley).
But these aren't rehashes of plots and quotes from the rave reviews of these stars. Muller personally interviewed each of them, and the second half of the book is a kind of "Where are they now?" Perhaps oddly--perhaps not--these wicked, lying, cheating, double-crossing, money-hungry temptresses of the screen turn out to be rather nice ladies, as normal as one could expect of beautiful movie stars, and Muller brings them fully to life.
There are regrets here, both on the part of the reader and of Muller, that space couldn't be devoted to many of the biggest female stars of film noir. There's no Barbara Stanwyck, or Gloria Grahame, or Veronica Lake, or Lisabeth Scott, or Claire Trevor, or Ida Lupino. Scott became a silent recluse, and the others had died. But that is only in real life. On the screen they will live forever, just as they do in Muller's marvelous love letter to them all. --Otto Penzler
Book Description
Film noir was the dark side of the movies' happily-ever-after mythology. Sinister and sexy, it forged a new icon: the tough, independent, take-no-guff dame. Determined, desirable, dangerous when cornered, she could handle trouble -- or deal out some of her own.
If you thought these women were something special onscreen, wait till you meet the genuine articles. In Dark City Dames, acclaimed film historian Eddie Muller profiles six women who made a lasting impression in this cinematic terrain -- from veteran "bad girls" Audrey Totter, Marie Windsor, and Jane Greer to unexpected genre fixtures Evelyn Keyes, Coleen Gray, and Ann Savage. The book surveys the lives of these formidable women during the height of their careers circa 1950, as they balanced love and career, struggled against typecasting, and sought fulfillment in a ruthless business. Their personal stories -- teeming with larger-than-life characters like Howard Hughes, L.B. Mayer, Robert Mitchum, Otto Preminger, and John Huston -- offer an illuminating counterpoint to their movies, such as Out of the Past, Detour, The Lady in the Lake, and The Killing. Then Dark City Dames revisits each one of these women today, fifty years on, to witness their hard-won -- and triumphant -- survival. On every page their own voices ring through, reflecting on their lives with as much passion, pain, intelligence, energy, and humor as any movie script.
Dark City Dames re-creates the excitement and glamour of a group of gifted performers who lived out their youthful fantasies -- and, along the way, remade the image of the American woman.
Customer Reviews:
Then-and-Now Biographies of 6 Actresses of Classic Film Noir.......2004-12-30
Author Eddie Muller proved himself adept at engaging readers with a lively tour of classic film noir in his popular book "Dark City: The Lost World of Film Noir". In "Dark City Dames", Muller presents then-and-now biographies of 6 actresses whose portrayals of femmes fatales will forever fix their images on the consciousness of film noir audiences. The first half of the book, entitled "Hollywood Midcentury", introduces us to these women, who came to Hollywood from a variety of backgrounds and locales, but all aspired to be movie actresses and were under contract to one studio or another in the late 1940s and early 1950s.
Jane Greer was brought to Hollywood from Washington, D.C. as a teenager under contract to RKO. She made "Out of the Past" and "The Big Steal", among others, before Howard Hughes vowed to end her career. Audrey Totter was straight-laced, professional, and ambitious. She acted in 6 film noirs, among them "The Lady in the Lake", "The Unsuspected", "Alias Nick Beal", and "The Set-Up" before remarkable coincidence began her married life and ended her film career, just as coincidence had launched it. Marie Windsor was the pride of Marysvale, Utah, who had dreamed of being an actress since childhood. Pragmatic and persistent, her dark hair made her the villain in "The Narrow Margin", "Force of Evil", and "The Killing". Evelyn Keyes was backwards and unworldly when Cecile B. DeMille signed her. But her persistent curiosity and independent nature inspired her to many Hollywood adventures. Her films included "Johnny O'Clock" and "The Prowler" , before she walked away from Hollywood after 13 years in the business. Coleen Gray was an insecure midwestern farmer's daughter, but you wouldn't know it from "The Sleeping City", "Nightmare Alley", or "Kiss of Death". Anne Savage was headstrong and vivacious, as her stage name implies. She will be best remembered for "Detour", which might have ended her decade-long acting career.
In the second part of "Dark City Dames", "Hollywood Fin de Siècle", we meet the 6 actresses today. Now in their 70s and 80s, the ladies of film noir tell us what happened as their film careers dwindled and what they've done since. It's interesting that the revived interest in classic film noir has brought these actresses a lot of unexpected attention and praise that was lacking when it would have helped their careers. Several of them lament the demise of the studio system that protected actors even as it limited them -and studio politics ended many careers prematurely. All of the actresses profiled cooperated with the author, so their stories are personal and very much their point of view. "Dark City Dames" doesn't actually say much about the films or the characters these actresses embodied. It's about the experiences of its 6 heroines, who, as young starlets in post-war Hollywood, probably aspired to be A-list stars, but became indelible vixens of film noir instead.
This guy knows what he's talking about!.......2004-02-25
I met Eddie at a lecture in San Francisco during the Noir Festival at the Castro Theater, and this guy really knows his stuff. He is the quintissential renaissance man; a writer, a thinker, and (more than likely) an artist. His books do nothing less than to amaze the reader how a man so young coud have gained so much knowledge about a genre that happened before his birth.
Those Dangerous and Intriguing Women.......2003-10-28
One of the most challenging roles for an actress is that of a femme fatale. She must exhibit far more than mere treachery. The femme fatale must convince audiences that what the poor male succumbing to her charms is experiencing is plausibly merited. She must exhibit the kind of overpowering appeal combined with a Svengali manner to sell audiences that the poor man's captivated fascination is plausibly worth it. Otherwise the whole story falls flat.
Eddie Muller writes about women who accepted that challenge and surmounted it convincingly. Jane Greer is a classic example. While only 22 when she appeared opposite Robert Mitchum in the classical noir work, "Out of the Past," she revealed a native intelligence and air of sophistication of a woman who had been around forever. Mitchum, while fully aware of her treachery, found himself incapable of turning away until it was too late and he was ultimately doomed.
Ann Savage was a former model who found her niche as a femme fatale in one of the most remarkable low budget triumphs in Hollywood annals, "Detour," directed by independent film genius Edgar Ulmer, who took a no frills, low budget project and carved out a classic by using limited space to commanding advantage. Tom Neil could not get away from Savage, who exuded a suffocating presence on the hapless musician, who was trying to reunite with his singer girlfriend in Los Angeles. Savage clearly had other ideas.
Marie Windsor was a willowy former beauty contest winner who traveled from her small Utah hometown to Hollywood in search of fame. Her height was a turnoff initially in her career and she was compelled to work in a lot of low budget westerns before getting her opportunity to shine, which she did in Stanley Kubrick's "The Killing." Her scenes as the faithless wife in love with gigolo Vince Edwards and her shamefully sadistic usery of husband Elisha Cook Jr. serve as a dramatic highlight of a superb, hard-hitting movie about an ex-con played by Sterling Hyden, who seeks to engineer a holdup of a racetrack on the biggest pay day of the season. The more Cook begs and implores, the more savagely biting the wisecracks which emanate from Windsor, but in the final analysis the henpecked husband hits back in a way neither she nor Edwards are able to anticipate.
Coleen Gray and Audrey Totter are also included in Muller's work. His penetrating interviews enable the reader to get familiar with the personalities and their lives away from the cameras. Gray played the girlfriends of Sterling Hayden and Tyrone Power in two noir gems, "The Killing" nnd "Nightmare Alley," while Totter was the love interest of detective Philip Marlowe, played by Robert Montgomery, who also directed, in Raymond Chandler's "The Lady in the Lake."
Superb biography of the queens of film noir.......2002-04-28
Some 50 years ago, the women of this book worked in relative obsurity amidst the shadows of large studios during film noir's heyday. Now with the resurgent popularity of the film noir genre, these actresses are finally being recognized for the keen talent they possess and the effect they had on a generation of movies.
None of these women are household names because none of these women were given the star publicity treatment that Myrna Loy, Joan Crawford and others were givne during the same time period. But their stories are every bit as interesting and author Eddie Muller tells them wonderfully.
Muller is obviously a fan of folm noir, but does not let this color these biographies. Rather, Muller deftly allows the six actresses featured here to tell their own stories. The result is an honest, touching and insightful view into the Hollywood moviemaking era of the late 30s to early 50s.
Each actress' life is chronicled from the time she was born until the present. The personalities shine through as Muller shows the different ways in which each woman found a love for acting and was later "discovered" by Hollywood. The result is poignant. From the exhileration of the "big" movie to the sorrow at the death of a spouse, each life is fascinating. A great book!
DAMES ? This one you can live with!.......2002-02-22
Dark City's leading citizen has done it again with Dames. In this beautiful book, 'hiz honor' introduces us to the lives and work of Jane Greer, Ann Savage, Audrey Totter, Coleen Gray, Evelyn Keyes and Marie Windsor. Do you dare argue?, the quintessential Noir Babes?
It is fair to say that the author's work here is nothing less then visionary. These actresses have never received the credit that they deserved and now in the their golden years someone has come forward to celebrate the contributions that they made to the American Cinema. The word on the street in Dark City is, that no one could have done it better than the Mayor, Eddie Muller.
Among his works, Dark City: The Lost World of Film Noir and a recently released novel 'The Distance'. He is the co-director of the American Cinematheque's Annual Festival Of Film Noir at the Egyptian Theatre in Hollywood during March and April.
Book Description
Los Angeles is an ideal city for film noir for both economic and aesthetic reasons. The largest metropolitan area in the country, home to an ever-changing population of the disillusioned and in close proximity to city, mountains, ocean, and desert, the City of Angels became a center of American film noir.
This work discusses nine films, each analyzed in detail, with explanations of why certain settings are appropriate for film noir, why L.A. has been a favorite of authors such as Raymond Chandler, and relevant political developments in the area. The films are also examined in terms of story content as well as how they developed in the project stage. Utilizing a number of quotes from interviews, the work examines actors, directors, and others involved with the films, touching on their careers and details of their time in L.A. The major films covered are The Big Sleep, Criss Cross, D.O.A., In A Lonely Place, The Blue Gardenia, Kiss Me Deadly, The Killing, Chinatown, and L.A. Confidential.
Customer Reviews:
Exploration of 9 Classic and Neo-Noir Films and Their Creators. .......2006-12-08
"L.A. Noir" discusses 9 film noirs that take place in the city of Los Angeles and the people who created them. Each of the nine chapters is devoted to a different L.A. film, seven classic film noirs and two neo-noirs. The chapters variably include detailed analysis of the film, comparisons and discussion of related films, and accounts of the careers of actors or directors involved. All analysis focuses on story and characters, never style or technique. There are spoilers, so you may want to make sure you've seen the films first. I can't say that there is anything new or revelatory in "L.A. Noir", but if you are interested in these particular films and your reading about film noir has not yet reached the saturation point, you might enjoy William Hare's tour of these "Nine Dark Visions of the City of Angels". This is what's included:
The first chapter is dedicated to the people behind "The Big Sleep" (1946): Howard Hawks, Humphrey Bogart, Lauren Bacall, and Raymond Chandler, with some information about their work on the film. I have to fault this chapter, because "The Big Sleep" was completed in 1945, tested on audiences, had extensive reshoots, and a major reedit undertaken to change the narrative emphasis before its eventual release in 1946. The film we see today is very different than its first incarnation, but Hare mentions none of that. The second chapter is a tour of noir films starring Burt Lancaster, with a focus on "Criss Cross" (1948), a comparison to "The Killers" (1946), and some discussion of "The Sweet Smell of Success" (1957) and "Atlantic City" (1980).
Chapter Three focuses on "D.O.A." (1950), with detailed analysis of this great film. The forth chapter explores the noir career of director Nicholas Ray, with analysis of "In a Lonely Place" (1950) and "They Live By Night" (1948), as well as some discussion of Humphrey Bogart real persona as compared to that of Dixon Steele of "In a Lonely Place", the character some say resembled Bogart the most of all his roles. Chapter Five is about the noir films of director Fritz Lang, including detailed analysis of "The Blue Gardenia" (1953) and "While the City Sleeps" (1956), along with some exposition of "The Woman in the Window" (1944) and "Scarlet Street" (1945).
The sixth chapter analyzes "Kiss Me Deadly" (1955) with discussion of director Robert Aldrich and actors Ralph Meeker and Albert Dekker. Chapter Seven discusses "The Killing" (1956), director Stanley Kubrick, actors Sterling Hayden and Marie Windsor, and compares "The Killing" to the other classic noir heist film, "The Asphalt Jungle" (1950). Chapter Eight is all about the brilliant "Chinatown" (1974), with detailed analysis and discussion of the historical basis for the film: L.A.'s Mulholland Aqueduct, built several decades before "Chinatown" takes place. Chapter Nine talks about "L.A. Confidential" (1997) and novelist James Ellroy. There is a brief synopsis of each film in the back of the book.
"Characters become pawns of fate.".......2004-10-18
Delighted by author, William Hare's book, "Early Film Noir", I turned to "LA Noir: Nine Dark Visions of the City of Angels." The book covers the films: "The Big Sleep" "Criss Cross" "D.O.A" "In a Lonely Place" "The Blue Gardenia" "Kiss Me Deadly" "The Killing" "Chinatown" and "L.A. Confidential." Each one of these noir films is centered in the city of Los Angeles, and the author argues that Los Angeles is a "city created by a never-ending migration"--a place that is pivotal to the genre of film noir. Indeed, film noir giant, writer Raymond Chandler "loved the spirited anarchy of the city." The book examines the plots of the nine films and the relationship between the plots and the all-important setting of Los Angeles. For example, the author argues that "In a Lonely Place" "reveals the pervasive uncertainties of the Hollywood film industry." In "The Blue Gardenia" an innocent girl (Anne Baxter) recently relocated from Bakersfield to Los Angeles, is pegged as a soft touch by practiced playboy Harry Prebble (Raymond Burr).
"LA Noir" is comprised of nine chapters--one covering each film. Each chapter is loaded with details--including plot synopsis, the careers of various cast members, and problems both on and off the set. For example, the chapter "Lancaster Noir" covers the film "Criss Cross" and includes details of how Burt Lancaster was spotted by a talent scout, other noir films in Lancaster's career, and the comparison of the femme fatales from "Criss Cross" (Yvonne de Carlo), "The Killers" (Ava Gardener), and "Out of the Past" (Jane Greer).
The chapter covering "In a Lonely Place" explores the idea of Bogart's tremendous appeal, and author Hare argues that Bogart "thrived on playing characters from stories containing brooding darkness and moral ambiguity." The author also analyzes Gloria Grahame's stage presence. As Grahame is a great favourite of mine, I was particularly delighted to read details of her much underappreciated contribution to film noir. A large portion of the chapter is given to details of director, Nicholas Ray.
"LA Noir" is not for those merely casually interested in film noir or for those desiring an overview of the genre. This book is for the true aficionado who already has grounding in the subject and yearns for an integrative approach, or for fans of any of the nine films. For those addicted to film noir, "LA Noir" offers a remarkable feast of details, and it's clear the book is written by someone passionate about the genre. This is a book I shall return to many times--displacedhuman
A Great Book that Makes These Great Films Even Better.......2004-07-16
Following up the triumph of his first book devoted to the "Noir" genre, the incisive and entertaining "Early Film Noir: Greed, Lust and Murder Hollywood Style," one of the best books ever written on the subject, author and film historian William Hare surpasses his own benchmark with this offering, his second volume on Film Noir, "L.A. Noir: Nine Dark Visions of the City of Angels," a comprehensive and thoroughly engrossing book that already has readers and true fans of the cinema rejoicing in the aisles.
Focusing on nine classic "Noir" films, all of which are set in Los Angeles and exemplify the perfection of this particular art form-- and it is most definitely an art form-- Mr. Hare takes us once again into that clandestine world of shadows and fog, neon lights that beckon to lost souls in the night, the hard guys and the femmes fatales who can bring them to their knees in spite of themselves. It's a rich tapestry of the human condition, captured in luxurious black&white (or in the spirit thereof) on a living, breathing canvas called the Silver Screen, which the author masterfully dissects and explores here between the covers of his book.
William Hare's extensive knowledge of his subject is readily apparent in every chapter as he provides his reader-- and those who later view the films discussed here-- the kind of invaluable insights that afford a fresh perspective to even those films that may be personal, oft viewed favorites, such as (in my case) "Criss Cross, starring Burt Lancaster and Yvonne De Carlo; "L.A. Confidential," the film which catapulted Russell Crowe to stardom and secured a well-deserved Oscar for Best Supporting Actress for the lovely Kim Basinger; "The Killing," which launched Stanley Kubrick's career and features Sterling Hayden in one of his best roles; and "In A Lonely Place," starring Humphrey Bogart in a stellar performance as a Hollywood screenwriter with a short fuse and a penchant for violence-- something of a departure for Bogart in a role that, once you've seen it, you'll never forget.
As he did in "Early Film Noir,"-- and he deserves to be complimented as a writer and fellow artist for doing so-- Hare recognizes the collaborative effort that goes into the making of these great films: The actors, directors, producers, writers, cinematographers-- all of the artists who contributed to the collective vision that ultimately became "The Film"-- get their just due here from the author. Ralph Meeker, for example, finally gets the kind of acclaim for his dynamic portrayal of Mike Hammer in "Kiss Me Deadly" (arguably his best performance ever), that has long since been overdue. Additionally, by reviewing the resumes of those involved in the making of these nine films, it enables the author to discuss other projects significant to the development of their individual careers and to the "Noir" genre as a whole.
Enhancing the enjoyment of this book further still, is Mr. Hare's command of his craft as a writer. The rhythm and flow of his narrative takes you from page to page with facility, making this one of those books you simply do not want to put down. In the end, "L.A. Noir: Nine Dark Visions of the City of Angels" is an adventure; a journey of exploration and discovery that takes you from the dark alleys of the city to the Pacific Ocean, from Angels Flight Railway to Chinatown and to the San Fernando Valley of yesteryear. By the time you're through, you'll know a lot more about movies and, without question, have a greater appreciation for the artists whose labors of love brought them to life. You'll come away, as well, with perhaps a better understanding of why "Chinatown," for instance, is one of your favorite films, and what exactly made Jack Nicholson's performance as Jake Gittes so memorable. For anyone who loves movies and learning about what makes them tick, this book is an absolute must-have for your library. Kudos to author Hare for his work, and for making the viewing of these magnificent films an experience that just keeps getting better than ever.
Book Description
The most complete reference to the dark 40s and 50s stylistic dramas (twice the coverage of competition). The first section has a lengthy analytical essay as well as detailed plot descriptions and credits for 25 classics-such as The Maltese Falcon, Laura, and Detective Story. The second section is an annotated filmography including major credits and short descriptions on nearly 500 films. Also included are appendices listing every film noir by both director and chronological order, off-genre noirs, and other films bearing important relationships to the noir cycle.
Customer Reviews:
Overpriced, but useful.......2005-06-30
The high point of Selby's Dark City is a filmography of 490 classic film noir titles. Each entry includes a brief synopsis as well as information on the film's year of release, studio, producer, director, main actors, and running time. All told, this filmography provides an excellent supplement to Silver and Ward's Encyclopedia of Film Noir.
Aside from the filmography, however, Dark City has little else to recommend it. The quality of the book's photos, typography, and editing are all poor. Even worse, Selby provides an in-depth discussion of 25 films, but his prose comes off as an amateurish attempt at academic writing.
In light of these flaws, and the fact that the book is less than 200 pages (not counting the appendices and indices), Dark City seems excessively overpriced.
I consider Selby's filmography an excellent resource, but it's not worth the list price of the book. If such a resource appeals to you, I recommend you do what I did: buy a used copy.
One of the indispensable NOIR references.............2001-05-05
Having been a hardcore NOIR fanatic for the past 7 of my 32 years, I've amassed quite an extensive collection of videos,posters, and of course books. This particular reference was one of the first I picked up as I needed one that featured an extensive filmography to help me in my research, and no other NOIR book has a filmography as exhaustive as the one in 'DARK CITY'. Some 500 NOIR films are listed in the second half of the book, alphabetically, with the year of release, the cast, crew, and often a helpful review. The first half is a collection of some 25 essays on many of the biggest and best NOIRs. Not a particularly great place to start one's NOIR studies if you want only to be entertained or exposed to many stills from NOIR films, 'DARK CITY' is more for the student of this elusive sub-genre. It is first and foremost a thoroughly helpful guide to those who are planning to spend some time tracking down lost b-classics and late night hard-boiled entertainment. NOIR rules!
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General
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Film Noir: An Encyclopedic Reference to the American Style, Third Edition
The Art of Noir: THE POSTERS & GRAPHICS FROM THE CLASSICAL ERA OF FILM NOIR
Its A Bitter Little World: The Smartest Toughest Nastiest Quotes From Film Noir
Film Noir Classic Collection, Vol. 4 (Act of Violence / Mystery Street / Crime Wave / Decoy / Illegal / The Big Steal / They Live By Night / Side Street / Where Danger Lives / Tension)
Film Noir
