<a href="http://articles.latimes.com/2010/may/05/entertainment/la-et-classic-hollywood-20100505"><b>Film noir</b></a><br>
<br>
By Susan King<br>
<br>
The iconic 1944 film noir "Double Indemnity" (pictured) was memorable for many things: <a class="taxInlineTagLink" id="PECLB003765" title="Barbara Stanwyck" href="/topic/entertainment/barbara-stanwyck-PECLB003765.topic">Barbara Stanwyck</a> and <a class="taxInlineTagLink" id="PECLB003082" title="Fred MacMurray" href="/topic/entertainment/fred-macmurray-PECLB003082.topic">Fred MacMurray</a>'s murderous lovers, <a class="taxInlineTagLink" id="PECLB003964" title="Billy Wilder" href="/topic/entertainment/billy-wilder-PECLB003964.topic">Billy Wilder</a>'s sly and menacing direction and this tasty, sexy exchange between Walter Neff (MacMurray) and Phyllis (Stanwyck), penned by Wilder and the great mystery novelist Raymond Chandler, who adopted it from James M. Cain's pulp fiction.<br>
<br>
Walter: "You'll be here too?"<br>
<br>
Phyllis: "I guess so, I usually am."<br>
<br>
Walter: "Same chair, same perfume, same anklet?"<br>
<br>
Phyllis: "I wonder if I know what you mean."<br>
<br>
Walter: "I wonder if you wonder."<br>
<br>
The noir world was filled with gritty black-and-white images of shadowy streets -- usually in Los Angeles -- men with hats and trench coats and a cigarette dangling from their mouths, women with too much makeup, high heels and a penchant for causing weak-willed men to commit murder for them. Directors such as <a class="taxInlineTagLink" id="PECLB002495" title="John Huston" href="/topic/entertainment/john-huston-PECLB002495.topic">John Huston</a> and <a class="taxInlineTagLink" id="PECLB002277" title="Howard Hawks" href="/topic/entertainment/howard-hawks-PECLB002277.topic">Howard Hawks</a> led audiences down a path of destruction and eroticism.<br>
<br>
But if it weren't for the written word, these seminal films noir would have been dead in the water, as fresh and vibrant as yesterday's leftovers. <a href="http://articles.latimes.com/2010/may/05/entertainment/la-et-classic-hollywood-20100505"><u>Continue reading this story</u></a>.<br>
<br>
<b>RELATED:</B><BR>
&#149; <a href="http://projects.latimes.com/hollywood/star-walk/fred-mac-murray/">Hollywood Walk of Fame: Fred MacMurry</a><br>
&#149; <a href="http://projects.latimes.com/hollywood/star-walk/barbara-stanwyck/">Hollywood Walk of Fame: Barbara Stanwyck</a><br>
&#149; <a href="http://projects.latimes.com/hollywood/star-walk/billy-wilder/">Hollywood Walk of Fame: Billy Wilder</a><br>
&#149; <a href="http://projects.latimes.com/hollywood/star-walk/category/film-noir/page/1/">Hollywood Walk of Fame: Film noir</a><br>
la-et-classic-hollywood-film-noir-j4ifmjnc

( August 15, 2013 )

Film noir

By Susan King

The iconic 1944 film noir "Double Indemnity" (pictured) was memorable for many things: Barbara Stanwyck and Fred MacMurray's murderous lovers, Billy Wilder's sly and menacing direction and this tasty, sexy exchange between Walter Neff (MacMurray) and Phyllis (Stanwyck), penned by Wilder and the great mystery novelist Raymond Chandler, who adopted it from James M. Cain's pulp fiction.

Walter: "You'll be here too?"

Phyllis: "I guess so, I usually am."

Walter: "Same chair, same perfume, same anklet?"

Phyllis: "I wonder if I know what you mean."

Walter: "I wonder if you wonder."

The noir world was filled with gritty black-and-white images of shadowy streets -- usually in Los Angeles -- men with hats and trench coats and a cigarette dangling from their mouths, women with too much makeup, high heels and a penchant for causing weak-willed men to commit murder for them. Directors such as John Huston and Howard Hawks led audiences down a path of destruction and eroticism.

But if it weren't for the written word, these seminal films noir would have been dead in the water, as fresh and vibrant as yesterday's leftovers. Continue reading this story.

RELATED:
Hollywood Walk of Fame: Fred MacMurry
Hollywood Walk of Fame: Barbara Stanwyck
Hollywood Walk of Fame: Billy Wilder
Hollywood Walk of Fame: Film noir

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