Welcome to a new post about Berlinale! Glad that you're still here!
First let's talk a bit (okay: I talk in the most - you listen..) about film noir..
Frankly - what I love most about film noir is that most of them are very, very classy. And actually I have a feeling like this kind of class has vanished long ago. I associate film noir very much with the style of the 1940's - and I might be just driving a cliché here - still: That's about what I think/see for my inner eye when I hear someone talking about film noir - maybe not excatly this scene - but you get the meaning:
|~ Dana Andrews and Gene Tierney in LAURA (1944)|
- I adore that film (it's with Vincent Price ... ---- ... )~
For me a film noir hasn't got to be b/w - I think LEAVE HER TO HEAVEN (1945) is a great film noir - in glorious Technicolor.. and it also is one of my favourite films..
Maybe film noir isn't so much that what other people call a "film noir" - but what makes you feel it is one. But I am loosing track.. Back to Berlinale films soon..
So: because I like very much what I consider classic film noir - I am a bit curious about this film I will post about today - which is by and large, well.. "very often" advertised as a "film noir.":
I, ANNA (2012)
In the early morning - after a single party - Anna (Charlotte Rampling) leaves the apartment of her one-night-stand - and meets detective Bernie (Gabriel Byrne) who is going through a tough divorce - and now about to work on a brutal murder case - in exactly the house Anna is about to leave.. He is fascinated by her - and finally makes contact with her - but the more they are getting into this relationship - the more it seems like she is involved into the murder..
I really like to see this film. It is told from the point of view of Anna - and the cast just sounds amazing: It has not only Charlotte Rampling and Gabriel Byrne but also Eddie Marsan, Hayley Atwell and - please keep calm: Honor Blackman!
The story really sounds like a classic film noir - but I think if I watch this film I won't watch it under this "pre-condition". I won't think "hm.. is this scene/sentence/look adequate to film noir?" - this would spoil the film from the beginning for me - I mean: which modern film could stand up to our memories of film noirs? I do not say that there are no good films made today - I say: It's like comparing a peacock with a flower - both are wonderful - but you can't really compare them. Everything in films has changed: the stars, the looks, the technique, the world.
Well - it's still Monday here.. Time for another start with a smile picture - this time related to Berlinale:
|~ Berlinale 1964: Claudia Cardinale receives a spray of roses - and gives her lovely smile..~|
Thank you very much for listening!
Yours (very well and) truly