<h1 class= "pgc-h-arrow-right" >11, black overwhelms Chinatown 1974</h1>
Chinatown is a thriller suspense film directed by Roman Polanski and starring Jack Nicholson and Fei Donnevey, released in the United States on June 20, 1974.
It was a great film in every way, at the height of New Hollywood, when big studios weren't occupied by accountants, data analysts and office bureaucrats, and when brilliant producers would invite a Polish director to make a film noir for Hollywood's most beautiful studio, a return to the retro style of the thirties. Nicholson wasn't yet a shark laugh like a conditioned reflex, Fei Donne hadn't been devastated by time, Robert Thorne hadn't wasted his time on Tom Cruise's popcorn movies, and Polanski wasn't a rapist.
The script for Chinatown was written by Robert Thorne, who wrote this powerful story based on the California water scramble of the 1930s. Private investigator Jack Giddys (Nicholson) is a cynical man who, a few years ago, chose to retire from the police department because he was not accustomed to corruption. While tracking down an affair, he stumbles upon a conspiracy in Los Angeles to embezzle water sources from out of town, and the dam engineer he investigates, Morray, is dying of a bizarre disagreement with high-level officials on the issue. Gidith is drawn to this conspiracy, and during the investigation he falls in love with Morray's widow, Aveline (Donnavie), but suspects Aveline's motives for hiding her dead mistress, and discovers that Aveline's father (Noah Klaus, by John Houston) is one of the most powerful people in Los Angeles, and it is he who controls the direction of california's water war. What happens next is full of bloodshed, violence, murder, incest, and a dark ending like an abyss.
The power of "Chinatown" comes from its authenticity, and the real history gives Thorne plenty of material, and without such a solid background, the structure of the California power structure will not be exposed in front of the camera, and the layers of black plot like peeling onions will not be so convincing. For "Chinatown", the story is really attributed to Thorne, and the truth of emotion is attributed to the real contradictions between the creators of the crew. Donnawei's big names on the set of the film have become legendary, and it is said that she even had to let her secretary flush the toilet for her. In order to get Donnaway into the neurotic state needed for the plot, Polanski liked to have the camera close to her face during filming, and often unexpectedly pulled out a handful of Donnavi's hair before shooting; and the few slaps that Nicholson slapped on Donnavi's face in the climactic passage were also genuine. But Nicholson's relationship with Polanski didn't get much better, Nicholson was often late because he liked to stay in the house to watch the Lakers' game, and Polanski, who had repeatedly backed down, finally had to smash Nicholson's TV with a mop stick.
The biggest breakthrough of "Chinatown" is that it breaks through the unwritten rule that the classic film noir must make the criminal obey, and it makes the evil people laugh to the end. Both Robert Thorne and producer Robert Evans advocated a happy ending, with Polanski's paranoid insistence that Aveline die at police gunpoint and Noah Klaus's continued impunity. Los Angeles was such an ominous place for Polanski, who defended the truth of black with the ending, and Hollywood never dared to let a second director do so for the next thirty-nine years.
<h1 class= "pgc-h-arrow-right" >12, the infamous chaotic drama "The Big Sleep" 1946
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Long Nights is an American suspense and thriller film directed by Howard Hawkes and starring Humphrey Bogart, Lauren Baicour, Dorothy Malone, and other actors, released in the United States on August 23, 1946.
The entanglement of multiple intrigues and constantly dead people makes the audience dizzy, and the existence of two edited versions makes the complex and chaotic plot of "Night Long Dream" "infamous". There is a passage where director Howard Hawkes and the screenwriter can't tell whether the driver Owen Taylor was murdered or committed suicide, and they sent a telegram to the author Raymond Chandler, who later told a friend, "They called me and asked me... Damn it, I don't know. ”
However, for many viewers who give up on figuring out the ins and outs of the case, the film is not yet sleepy, because the dialogue in the film is full of tension and the strong chemical effect between the two protagonists, Bogart and Bakauer. Since the two became acquainted in the film "Escape", and later co-starred in three film noirs, including "Long Night Dream", the end of these four films is that two lovers eventually become dependents. Although the strength of the black is somewhat weakened, for many fans, seeing Bogart and Bakall in the film is more important than a good story.
"Long Night Dream" lacks the typical label of film noir, no flashbacks, no voiceover, no contrasting light and dark light, except for a few snake and scorpion beauties with different personalities, the more important reason it is defined as a film noir is Bogart, compared to the tough guy detective Sam Spide in "The Eagle of Malta", Marlowe is more humorous. Throughout the film is his spicy and ridiculous jokes, Marlowe is more humane than the Stern and Cold of The Paddle, he has never been lost in lies and deception like other detectives, always sober, confident and controlling the overall situation. Hawkes makes Bogart act like a guide, leading the audience into the darkest and dirtiest corners of Los Angeles, showing the seductive banality that overflows our metropolis, and carefully hinting at taboo topics such as drugs, voyeurism, and fornication.
<h1 class= "pgc-h-arrow-right" >13, Naked City 1948 when the city took off the mask "The City That Never Sleeps"</h1>
The City That Never Sleeps is a crime film directed by Jules Dassin, starring Frank Conroy and Ter de Corro.
"The City That Never Sleeps" was hailed as "Hollywood's first ever film shot on the street" because of its epoch-making heavy use of live-action shooting, which captured the real street scenes of New York at that time. And that's exactly what Darcyn meant— to use the camera to take the audience out of the drunken living rooms and luxury hotels, and to show them the scenes and scenes that happened in the real-world Big Apple City. Of the eight million lives, none of them are worth yearning for. It's a film that starts with night and ends with day, and it's a film that begins with death and ends with death. The victim and the murderer, who both step from the height of desire, fell into the abyss of eternal doom.
The film revolves around a murder case that takes place in a high-end apartment, the deceased is a young and beautiful female model, in order to find the murderer, two police partners, an old and a young, have gone through several twists and turns. And through their case-handling process, the truth behind the bright American dream has also been revealed little by little. The bohemian social flower who fornicates with her girlfriend's fiancé; the daughter of a gardener from the lower classes; the gentleman on the beam who is captured by drugs and turns to jewelry...
Which is the real victim? And who put on this strange mask for her? After some stripping away, the real wrestler surfaces, but the audience has long understood that it does not matter whether the "murderer" in the real sense can be caught, the city is the real murderer who engulfs these young people. Using a cinematic language that combines poetic realism and expressionism, supplemented by a unique omniscient perspective voiceover, Dashin tells this murder story with a strong sense of "social reasoning" to the point, but it can make people think twice. The chase scene in the film has long become a classic in film history, and has a great influence on latecomers such as "French Drug Trafficking Network". At the end of the film, the murderer who climbed up the high place looks down, and the men and women on the tennis court in the distance are sweating like rain. This shot has been repeatedly explored by later generations, and it is believed that the discord, the meaning of nothingness, and the sense of instability reflected in the pursuit of life and death and peace and happiness can be called a stroke of God. Japanese director Masahiro Shinoda once lamented: "Dasin's luck is so good, he probably didn't think there would be such good luck!" "But in fact, it was all out of Darsin's deliberate arrangement. The people who play tennis below are all hired by him at his expense.
<h1 class= "pgc-h-arrow-right" >14, L.A. Confidential, L.A. Confidential, the benchmark for neo-film noir
Los Angeles Confidential is based on the 1990 novel of the same name by James Airore, directed by Curtis Hansen and co-starring Kevin Spacey, Russell Crowe and Guy Pierce. The film was released in the United States on September 19, 1997.
"L.A. Confidential" is regarded as the benchmark of film noir in the new era, this distinctive crime cop film focuses on the psychology of the characters, and the three protagonists of the film, although they belong to the same police, have very different personalities. Russell Crowe's Bud is a tendon of abusive violence and lynching, he is a heavy hammer in the fight against crime, but his extreme law enforcement methods are also quite criticized within the police department; Ed, played by Guy Pierce, like the extreme opposite of Bud, always acts according to the rules and the system, never overstepping, and what he gets is a rapid rise; Jack, played by Kevin Spacey, is like the reconciliation and compromise of the two, and he can be described as the source of the slippery tone.
The film's black temperament comes from the fact that none of the main characters in the film are pure and immaculate "good people", and everyone wanders in the gray area of the symbiosis of good and evil. Bud's stubbornness not only makes his law enforcement appear unjust without procedural approval, but also makes him easy to become a thug who is exploited; Ed's recognition of death makes him turn a deaf ear to the real criminal world and be spurned by his colleagues; the sophistication and sleekness of the jacket makes him look like a black-and-white all-you-can-eat clown from the beginning, and his concern for his fame is obviously far greater than the pursuit of justice. Kim Basinger imitates the famous actress of the film noir Veronica Lake to hollywood for prostitution, Ed and Bud are fascinated by this blonde, and the series of entanglements involved in her become the key to the plot, which is a typical snake and scorpion beauty. And Bud's rough and tough police image is simply the embodiment of Dana Andrews in "Iron Bull Kong".
"L.A. Confidential" exposes the crime scenes in Los Angeles in the 1950s, and the film not only refers to Mickey Cohen, the crime leader of Los Angeles at the time, but also directly uses Hollywood's collusion with criminals as the main story of the plot. Just as the stubborn Ed and Bud eventually teamed up to kill the mafia himself with the "black means" taught them by the police chief, "L.A. Secret" also criticizes the golden age of film noir in a most typical film noir way.
<h1 class= "pgc-h-arrow-right" >15, Choosing To Live, Choosing to Die Second Breath, Le deuxième souffle 1966</h1>
Second Breath is a crime film directed by Jean-Pierre Melville and starring Lino Ventura and Paul Merres, released in France on November 1, 1966.
All of Melville's films rely on the creed that the identity and courage of all people are not worth mentioning—these appearances are nothing more than the product of going with the flow. The opening line of "Second Breath" says, "A person is born with only one right — to choose his own death." After this inscription outlines the film's full tragic color, Melville uses the revenge journey of the thief Gustav in the video to give a perspective on morality, human dignity, and existentialism.
Gustav (Reno Ventura) is caught by the police after a robbery operation. At the same time, he was also designed by the police and inexplicably became the "whistleblower" of the operation, discredited. In order to restore the dignity of the individual, Gustav decided to take revenge. After escaping from prison, he did not choose to leave France for shelter, but went alone to find the real whistleblower. After killing the informer, he was shot dead by the police. In all of Melville's films, almost all the characters are fatalists. They are opinionated and have spent their lives fighting for dignity, and the stubbornness of Gustav's rival Detective Blott (Paul Morris) is clearly visible. Brott worked tirelessly with them in order to fight the criminals. At the same time, he understands the "criminal honor" of these outlaws— the final scene of the film, where he helps Gustav clear the stain.
Melville's "blind worship" of low society is evident in the film: he personally selects costumes, vehicles, weapons, and even wallpaper in the house for the film. Of course, this "bad taste" of his is most expressed in the film's photographic effect. In the scene before the robbers committed the crime, the camera pans from right to left, shaking past the quiet robbers, then to a mountain (which turns into a big vision) and ends in a bare mine under the clouds. This objective shot with a god's perspective looks rough and uncompromising, but it foreshadows the failure of the robbers.