Great interview! Since childhood, I've loved film noir. It has certainly inspired my writing. Without those films, I wouldn't be the person I am today.
If you love film noir, come see IRTE NOIR, starring the award-winning Improvisational Repertory Theatre Ensemble, as we take on the genre with our latest fully improvised show at the Producer’s Club in Manhattan … Fridays & Saturdays, May 18 & 19 and June 1 & 2, 2018 @ 8:00 p m. Join the dicks and the dames for a night of crime, passion, intrigue, betrayal, drama, deception, twists, turns, mood lighting, and inner dialogue -- and a loaded load of laughs! The Producer’s Club is in midtown at 358 West 44th Street, right in the heart of New York City’s theatre district. Our musical guest will be the one and only Tym Moss. IRTE Noir was conceived and directed by Curt Dixon; technical director is Anne Carlton, and the show stars Robert Baumgardner, Izzy Church, Nannette Deasy, Sam Katz, Jamie Maloney, and Connie Perry. Tickets are a steal at $15, and season’s passes and group discounts are available. Due to the improvisational nature of the shows, there may be adult content, so parental discretion, and permission from your parole officer, is advised.
I've been at odds with a statement Mr. Muller made about Film Noir. It was something like, sometimes the American dream doesn't always turn out the way you plan for it to. I think, it would be closer to the truth to say that, Film Noir is the American Nightmare. I also think that, to whatever extent Muller's statement is true, it is nearly always the victim or victims involved that it does apply to. I much more agree with Muller's statement in this interview about the genre depicting the underside or darkside of American life where motives are more likely to be easy money and sex rather than hard work and love.
I appreciate what Eddie Muller has done for the Film Noir. With his Foundation and his books and in general with the disclosure of the Noir . But he considers Film Noir to movies that are not Noir, but only police, thrillers or dramas shot in black and white with some expressionism.
@@thiazyl My definition? I have seen hundreds of movies and read many books on Film Noir and CRIME FILM in general, including some by Mr. Muller. You should inform yourself a little about this style of cinema. Unfortunately Eddie Muller, as he does business with the "NOIR label" from time to time, includes under the style of films that are not Film Noir (like some Hitchcok films: Anyone knows that Alfred Hitchcock never filmed a movie even close to a Film Noir) But I insist: "I appreciate what Eddie Muller has done for the Film Noir"
@@apachelogiano612 You are missing the point. Ask five people what noir is and you'll get 5 different answers. There is no algorithm that you can use to definitively label something as 'noir' or 'not noir'. Hitchcock isn't noir to you? That's fine. But don't tell someone that they are 'wrong' about labelling it noir. It simply comes down to your definition of noir is different from theirs. I should inform myself on the subject? I have. I too have seen hundreds of movies and read many books on noir. I'm pretty sure Eddie Muller has seen hundreds of movies and read many books on noir too.
@@thiazyl Did I miss the point? XD Show me where I defined FILM NOIR in my comments to this video. I wait for your answer! And defining FILM NOIR, very difficult, is much more objective than is usually said. And I insist, Eddie includes in the NOIR, for example, STRANGERS ON A TRAIN (Hitchcock, 1951) or SUDDENLY (Lewis Allen, 1954). Well, Paul Schrader went further and included ACE IN THE HOLE (Billy Wilder, 1951). The problem, and it is what I really and clearly criticize in my initial comment (although you missed the point), is that Eddie knows that those films are not Film Noir, but he includes them to have more material, since he lives by talking about of Film Noir. For the same reason Eddie tends to extend in some interviews, even into the 1930s. Film Noir. I didn't say Eddie was wrong. On the other hand, if you believe, for example, that Hitchcock ever filmed a Noir ... It shows that you are very lost. Neither REBECA, nor ROPE, nor PSYCHO, nor VERTIGO, nor SHADOW OF A DOUBT, etc. Hitchcock did not shoot Film Noir. Bottom line: I hope you tell me where I defined FILM NOIR trying to impose "My definition" and where I said Eddie is wrong. Eddie purposely expands NOIR to the point where it tends to contradict itself.
Great interview! Since childhood, I've loved film noir. It has certainly inspired my writing. Without those films, I wouldn't be the person I am today.
+Joseph Logsdon thank you! Glad you enjoyed it, and good luck with your writing!
Great interview with Eddie Muller.
If you love film noir, come see IRTE NOIR, starring the award-winning
Improvisational Repertory Theatre Ensemble, as we take on the genre with our
latest fully improvised show at the Producer’s Club in Manhattan … Fridays
& Saturdays, May 18 & 19 and June 1 & 2, 2018 @ 8:00 p m. Join the dicks and the dames for a night of
crime, passion, intrigue, betrayal, drama, deception, twists, turns, mood
lighting, and inner dialogue -- and a loaded load of laughs! The Producer’s Club is in midtown at 358 West
44th Street, right in the heart of New York City’s theatre district. Our
musical guest will be the one and only Tym Moss. IRTE Noir was conceived and
directed by Curt Dixon; technical director is Anne Carlton, and the show stars Robert
Baumgardner, Izzy Church, Nannette Deasy, Sam Katz, Jamie Maloney, and Connie
Perry. Tickets are a steal at $15, and season’s passes and group discounts are available.
Due to the improvisational nature of the shows, there may be adult content, so
parental discretion, and permission from your parole officer, is advised.
long rule frisco!
beacon of mist and mystery...
and dark sin.
beacon of fithy junkies who shlt in the street
His book Dark City is an essential guide to Noir.
I've been at odds with a statement Mr. Muller made about Film Noir. It was something like, sometimes the American dream doesn't always turn out the way you plan for it to. I think, it would be closer to the truth to say that, Film Noir is the American Nightmare. I also think that, to whatever extent Muller's statement is true, it is nearly always the victim or victims involved that it does apply to. I much more agree with Muller's statement in this interview about the genre depicting the underside or darkside of American life where motives are more likely to be easy money and sex rather than hard work and love.
Film noir = The most ironic ending possible.
I appreciate what Eddie Muller has done for the Film Noir. With his Foundation and his books and in general with the disclosure of the Noir . But he considers Film Noir to movies that are not Noir, but only police, thrillers or dramas shot in black and white with some expressionism.
?? Not noir? According to who? What makes your definition of noir the 'correct' one?
@@thiazyl My definition? I have seen hundreds of movies and read many books on Film Noir and CRIME FILM in general, including some by Mr. Muller. You should inform yourself a little about this style of cinema. Unfortunately Eddie Muller, as he does business with the "NOIR label" from time to time, includes under the style of films that are not Film Noir (like some Hitchcok films: Anyone knows that Alfred Hitchcock never filmed a movie even close to a Film Noir)
But I insist: "I appreciate what Eddie Muller has done for the Film Noir"
@@apachelogiano612 You are missing the point. Ask five people what noir is and you'll get 5 different answers. There is no algorithm that you can use to definitively label something as 'noir' or 'not noir'. Hitchcock isn't noir to you? That's fine. But don't tell someone that they are 'wrong' about labelling it noir. It simply comes down to your definition of noir is different from theirs. I should inform myself on the subject? I have. I too have seen hundreds of movies and read many books on noir. I'm pretty sure Eddie Muller has seen hundreds of movies and read many books on noir too.
@@thiazyl Did I miss the point? XD Show me where I defined FILM NOIR in my comments to this video. I wait for your answer! And defining FILM NOIR, very difficult, is much more objective than is usually said. And I insist, Eddie includes in the NOIR, for example, STRANGERS ON A TRAIN (Hitchcock, 1951) or SUDDENLY (Lewis Allen, 1954). Well, Paul Schrader went further and included ACE IN THE HOLE (Billy Wilder, 1951). The problem, and it is what I really and clearly criticize in my initial comment (although you missed the point), is that Eddie knows that those films are not Film Noir, but he includes them to have more material, since he lives by talking about of Film Noir. For the same reason Eddie tends to extend in some interviews, even into the 1930s. Film Noir. I didn't say Eddie was wrong. On the other hand, if you believe, for example, that Hitchcock ever filmed a Noir ... It shows that you are very lost. Neither REBECA, nor ROPE, nor PSYCHO, nor VERTIGO, nor SHADOW OF A DOUBT, etc. Hitchcock did not shoot Film Noir. Bottom line: I hope you tell me where I defined FILM NOIR trying to impose "My definition" and where I said Eddie is wrong. Eddie purposely expands NOIR to the point where it tends to contradict itself.
A good noir film always ends in tragedy.