Noir City Guest Post! Jenifer talks "Gilda" and "The Money Trap"

Hey Signal Corps!  Jenifer has offered to provide commentary on films during the remainder of the Noir City Festival.  I'll be posting her musings as she sends them in.  Hope you enjoy.




Tonight, Noir City offered the best of Rita Hayworth, in Gilda (1946), and her not-so-best, The Money Trap (1965). Both pair her with Glenn Ford, and show the chemistry the two had on screen even after 20 years.

Gilda is well known and documented, but for those who don't know, Gilda was a vehicle for Rita Hayworth that established her as a love (sex) goddess. It's an example of how producers worked around the strict Production Code enforced on movies at the time. In Gilda, the sexual symbolism is everywhere, and the innuendo beautifully done.

The Money Trap is an odd little film starring Glenn Ford. He plays a cop married to the young, beautiful, and once-rich Elke Sommer. They aren't rich anymore, but they "live rich". Investigating what looks like a burglary where the home-owner shot the burglar, he is tipped off to a safe full of money. Encouraged by his equally money-driven partner, Ricardo Montalban, the two plan to break into the safe themselves. 

Rita Hayworth plays a long-time childhood friend and girlfriend of Ford's, married to the burglar who was killed. Though shockingly presented, it's clear that her character is meant to be run-down and aged, drinking too much, married to a crook, and waiting tables in a bar. She was 47, practically an elderly woman by movie and social standards of the time. It's a shame she wasn't that age now, when women in their forties are still seen as beautiful and even sexy.

Innuendo does not exist in this film. Everything is stated plainly, as that had become more acceptable in film. Rita has the best line. While she and Ford reminisce in a car, he tells her the time they were together on the roof of her building was his first. She says, "I know. You acted like you just discovered America." Later when they reconnect she calls him Columbus. 

It may be time for creators to push back a bit against the bosses at the Big 2

Before the new year, I had been pondering a bit upon the power the internet has placed in the hands of comics creators.

Since the 90's, creators have had the forum of the internet to reach and build small communities around themselves.  And, also since the 1990's, the creator has become arguably as important in the day-to-day world of superhero comics than the characters themselves, and outside of superheroes, creator is king.  Its a massive shift from the Silver Age during which most stories didn't receive an attribution of artist or writer.

I am not certain all creators have used the web terribly well.  Its pretty clear some creators just didn't and don't get how far their comments can spread, or understand that what they say is semi-permanent, once its out there.  And, of course, some have chosen to hole up and build an online cult of personality, and that's just weird, John Byrne.

The comics industry is a very, very small world, especially once you're working for the Big 2.  And, of course, once you're at the Big 2, there really aren't a lot of places to go where sales will be as high based solely upon who is publishing your book.

I'm thinking today, specifically, of an article posted at Comics Alliance (but something I'd heard from Jordan Gibson via Twitter), about how Static Shock, a book I was thrilled to see coming, arrived with such a lead thud and how writer John Rozum seemed to blame until he decided to go ahead and clear the air and tell the public what had occurred behind the scenes.

Rozum's post is a good read, if you've the time.

I hadn't liked the issue of Static Shock I read with the New 52 relaunch, and I can see now how a lot of what I found lacking occurred.

This is the second event of this sort this year that I can think of wherein a writer did not follow the script we usually see.  The script is usually either silence or a statement about bad luck, unfortunate circumstances, etc... but few will flat out say what has gone wrong.

I am returned (and discuss a bit about why this was fun)

No matter what they do to make flying better, its still stressful.  I am well aware they put bars in airports for a reason, but I never drink while flying, just in case they need me to take over in the cockpit.

I had an absolutely terrific time in San Francisco, helped along by Jenifer, Doug, Kristen, Lauren and non-Signal Corps member, Morgan.  I am not sure if I mentioned the SF Sketchfest, but Doug got us to RiffTrax Live, and it surpassed any expectations I had.  Our hosts were Bill Corbett and Kevin Murphy, but we also had guests such as Eugene Mirman, Bruce McCulloch, David Cross and Paul F. Tompkins.  Not bad.

I am still pondering many of the geographical, historical and cultural differences between San Francisco and Austin.  I have to tip my hat to the city, but I have always been most comfortable here in Waterloo, warts and all.  But we could certainly learn from San Fran.

I've been thinking a bit about the difference between something like the Noir City Film Noir Festival and the fact that Austin has SXSW, and the difference is that Austin's festivals, Fantastic Fest included, are really industry shows.  You can buy a pass for SXSW, but its a pass to get into things that people with the industry badges won't fill up.  Consequently, you tend to hear people telling you about this great documentary they saw about Peruvian peanut farmers or whatever, but there's not much in the way of just celebrating film.  Its all about selling films.

Noir City Special: We Crash Dashiell Hammett's Apartment

So, more than once I mentioned that Jenifer had lined up something highly unusual for my visit to San Francisco that was going to be a real topper for the trip out.

She told me ahead of time that she'd gotten this set up, but it didn't make any sense at the time.  After having spent a few days with Jenifer, I now get that she's just one of those people who has the near-magical ability to make things work.

Its also worth mentioning that Jenifer figured out from looking at pictures that she lives across the street from the recently renovated former apartment of pulp hero, Dashiell Hammett.

The story around the apartment itself is kind of amazing, and involves sleuthing on the part of his truest fans.  Its true Hammett lived in multiple buildings, but by looking at return addresses on envelopes from letters, descriptions of Sam Spade's apartment in The Maltese Falcon and a few other contextual clues, they've narrowed it down and figured out that this was the apartment Hammett resided at for a few years in San Francisco, and when he wrote The Maltese Falcon.

I'm still not entirely clear on how Jenifer made the contact, but this morning we met up with one of the organizers of Noir City, who had been one of those investigators and who had lived in the apartment himself and did a lot of renovations.  I won't go into specifics, but basically the apartment is now a very weird spot.  Nobody lives there, and its a residential building, so there are no tours.  Essentially its supported by a philanthropist who pays the rent and maintenance and the place sits empty most days except for an occasional tour like ours or a walking tour.

Jenifer models next to the plaque talking about Hammett outside the security door.

The building is down the street from my hotel, as well.  And one thing I've learned in my short stay is that behind a lot of these facades, there's something going on or some crazy history in a lot of these buildings you wouldn't guess walking by, be it a famous author's former residence, or a secret stash of vintage cars or swimming pools by big doors.

Just inside the doorway

It doesn't seem that anybody was really aware of the building's history until the last 20 years, and so the apartment had to be basically re-done to match the original decor.  The building went up in 1917, and so Hammett would have lived there about 10 years after it opened.  Since that time, landlords had removed doors, painted over glass, added a hundred layers of paint, etc...

Dedicated folks pieced together the apartment from fixtures in apartments from the building that were original, found items that matched the book, etc...

Its a fairly small place.  A bedroom/ living room with a murphy bed, a small bath (with the original clawfoot tub and toilet, so you can stand where Hammett stood as he showered, I suppose), a small kitchen, etc..   So this was not from a period in Hammett's life where the money was just rolling in.  Its a modest living space in a part of town with a lot of character now and then.

I did take more pictures, and when I upload them to Google, I'll post a link.

Oh, the Falcon on the desk?  I'm not sure what that's about.

No, this was not Hammett's chair, but its a nice chair, right?

Of a very special, very noir weekend, this was an unbelievable bit of history that put a near surreal spin on things.

Thanks to Jenifer for arranging the tour (and so much more during my stay), to Bill who was more host that tour guide, and Doug, who was... there, I guess.

More pics when I get home and get them off my phone.

So, San Francisco is an interesting town.

I do love my little hamlet of Austin, Texas, and I'm not one to plan to move anywhere because I had a few nice days of vacation, but San Francisco is an interesting burg.

I've had the good fortune of having Jenifer (aka: @J__Swift) as my tour guide.  Today it was not pouring down rain, and so we went to breakfast and wandered into a cafe where we ran into Bruce McCulloch of Kids in the Hall fame (and because he's one of the Kids in the Hall, he's also one of the funniest people I can think of) and tried to very nonchalantly eat brunch outside the window he was eating inside of.  So, like, a foot away.  I guess he could hear us a little because when Jenifer came back to the table and asked "was the Bruce McCulloch?" he waved at us.



He doesn't live here.  He was just in town for SF Sketchfest, which is an awesome event and something else we don't have in Austin (like a Thai restaurant every block, as near as I can tell).

So he probably heard some of my super-lame anecdotes.  You're welcome, Bruce McCulloch.

Jenifer took me around a bit to see some sites, not the least of which was the Cartoon Museum.  A small space, but with a great variety of examples of work of iconic cartoonists, from Al Capp to Gene Colan to a current exhibit by Keith Knight.  Every few panels I'd find something I was amazed to see, be it a print of a Yellow Kid strip, or original Gene Colan Daredevil art, to...  well, it was worth it.

Jenifer and her pal Morgan took me to a nifty vintage shop where I found a Superman vinyl record of the old radio broadcasts (it was inexpensive, Jamie), and a reprint of a World's Finest comic in a format I'd never seen before.

This evening returning via public transportation I saw no less than two couples in wedding outfits.  Today, I saw my first real-life version of Reals (real life superheroes walking down the street).  And, I guess, Victorians wandering about this evening in their finery.  Yes, I totally stared one dude down with a "boy, what are you doing?" look which was totally inappropriate given my own costuming choices Friday night.  Lots of crazy hobos, too.  If Austin wants to believe itself weird, its really going to have to step it up.

The Film Noir Fest has been fascinating.  I thought Austin was a movie town, but, sorry, Austin.  What I've come to see as a crucial difference is the lack of hipster-ness, irony, etc... that I take as part and parcel of the film-going experience at The Alamo.  While the population of San Francisco and surrounding communities is considerably larger than Austin, what you would not see is a 1400 seat theater sell out for double-bills of noir two nights in a row.  And sustain a 10-night Noir Fest.

The crowd is all over the place in terms of age, which is interesting.  It does remind me of the better nights at Austin's Paramount Theater, where you really do see all kinds of people.  And because I'm selfish and want to see movies I'd care to see on the big screen, I keep thinking about how one could replicate such a feat.

There is a tragic lack of Rice-a-Roni, but I have secured a tin trolley car which goes "ding" about which I am quite excited.

I do want to thank Jenifer for taking her time and energy and devoting both toward my entertainment and amusement.  She's been a real champ, and its been a huge pleasure not to speak to her entirely in 140 character tweets.  Look her up if you come out this way.

Noir Watch (Noir City Edition): Dark Passage and The House on Telegraph Hill

Friday evening I attended the opening night of the tenth edition of the Noir City film festival, hosted by Eddie Muller, the Czar of Noir.

We attended the reception ahead of the show, which was a real kick.  Lots of folks in approximations of period attire.  You can see myself and J__Swift below.  

a very vintagey reception at The Castro

I had seen Dark Passage (1947) twice before, and hadn't particularly loved it the first time, liked it much more on the second, and loved it on the big screen on this go round.  The movie takes the risk of starting from the protagonist's POV, literally, and that part of the movie goes on for a bit, which is why I think I was a bit turned off the first time I watched the movie.  It seemed like a stunt, but on the big screen versus the 27" TV I watched it on the first time, it really, really works.

A Noiry Night

Noir City X is in full swing. The Festival opened this evening with the video below, a loving clip show of some great movies.



Great stuff.

This evening I met the great Eddie Muller and got to see two fantastic movies, Dark Passage and The House on Telegraph Hill. More on those later, I suppose.

Anyway, a terrific night out with J__Swift and her pal, Morgan. Hope things are well with you.

Dark Vacation

Well, on Thursday I am off to San Francisco for the 2012 Noir City Fest.  I'll be in San Francisco from Thursday afternoon until Monday morning.

I expect if you want to see me whilst I am in the Bay Area, you'll know how to track me down.

The schedule is pretty packed, but I do plan to write up all the movies one way or another as part of Movie Watch 2012.


Thursday night I'm actually headed for Riff-Trax Live with Dug, K and J__Swift.  Possibly MikeF and Rus.  We'll see.


Despite living in the town with the Austin Film Festival, SXSW, Fantastic Fest and more, I've never bothered with a film festival, so this is all new to me.  Mostly I wonder about how well my back can handle sitting in movie-theater seats this many hours.

between you and me, I hope this doesn't happen to me while I'm there

Jenifer (our J__Swift) has arranged a special EXTREMELY AWESOME/ SUPER NOIR event for me on Sunday that I'm keeping under my hat until I can post photos.

I got some hints on FaceBook about places to eat, etc...  we'll see if I can pull that off given our crammed schedule, but I appreciate the hints.

So, no idea what the next few days will hold, blog-wise.

Jamie on UFC

On what happens if we leave the TV on Fox Sports Southwest after the basketball game:

Jamie:  See...  I don't even know why you'd watch wrestling.
Me:  That's not wrestling.
Jamie:  It's two guys rolling around on the ground holding each other.  What is it...?  Hugging?
Me:  That's Mixed Martial Arts.
Jamie:  Its two grown dudes hugging.
Me:  I don't even know if that's Mixed Martial Arts.  Its "Ultimate Fighting."  Its for guys who were good at exactly one thing in high school and it wasn't math.
Jamie:  Hugging?

and scene.

Lack of posting is like a SOPA Blackout Sympathy thing

So it seems we are going for a bit of a blackout to draw attention to the SOPA Bill.  If you don't know what this is about, Google it, check it out on Wikipedia, or read up on it at BoingBoing.

In Blackest Night, people.

You're on your own til Thursday.  Contact your representatives.