Monday, February 8, 2016

Delusion (1991) Christmas in the Desert Neo Noir

Delusion Soundtrack Album Cover



"A fun low-budget Film Soleil Noir" (Noirsville)

A low budget spaghetti western-ish Death Valley Neo "B" Noir with lots of twists. 


A Cineville production, directed by Belgium born Carl Colpaert, written by Carl Colpaert and Kurt Voss. Starring Jim Metzler (River's Edge (1986)), Jennifer Rubin, Kyle Secor (Sleeping with the Enemy (1991)), Jerry Orbach (Cop Hater (1958)), Robert Costanzo, and Tracey Walter (Repo Man (1984)). With a budget of supposedly $1,000,000 Delusion is a bare bones Film Soleil Noir.

George O'Brien (Metzler) is a yuppie executive of some type of LA based computer software company that's been bought out by a bigger fish. 

George O'Brien (Metzler) rt.



George is not taking the ensuing events well, and in classic noir fashion, he decides to take a walk on the wild side.  O'Brien is a cultured metrosexual, one scene has him and a cohort sitting in a spa/hot tub with mud facials, they calmly discuss embezzling a large sum of cash by faking expenses in the takeover confusion, then crossing the Nevada state line and setting up shop with a new company in Reno.

Yuppies 


Embezzling 


The Moola

It's Christmas time, and O'Brien is soon on his way from smog shrouded LA to Reno with a gift to himself of a half million in the spare tire well of his tres hip silver 1990 Volvo 760. 

Death Valley Mojave Desert



He is cruising across a barren desert on a two lane highway. With all the moola he's carrying in the trunk George is a bit apprehensive, a bit on edge. In his rear view he scopes a red '71 Olds Cutlass weaving erratically across the centerline through the heat waves behind him. 



It's coming up fast like an interceptor. He breathes a sigh of relief when the Olds barrels on past. A mile or two further on he sees the Olds crest a rise and disappear, but a cloud of yellow dust suddenly boils up against the desert sky.


The Wreck

When George tops the hill he sees the Olds tits up, wheels spinning, and a man and a woman scrambling out of it. Good Samaritan George pulls off the road to offer them help. 





The woman is all legs, showgirl/escort/femme fatale Patti (Jennifer Rubin) traveling with her pet lizard (which she keeps in a glass jar), and a dumbass, cornball, Vegas hit man Chevy (Kyle Secor). Patti legs akimbo is flashing her crotch at George and its hard to tell if she is wearing panties or not with this print.

Chevy is on his way to deliver a holiday whack to his old mentor Larry (Jerry Orbach) at his mob provided silver Airstream desert pothole "safe house" hideaway.

It's hinted at that Patti was administering some "road head" to Chevy and that caused the wildly careening driving of the Cutlass, and it's veer onto the loose gravel shoulder and roll.  George offers Patti and Chevy his car phone and a ride into the Noirsville Twilight Zone. 

Patti, Chevy, George, and Patti's pet lizard in jar on dash




George drives Patti and Chevy to a state line truck stop. He figures his good deed is done, he figures wrong, Chevy pulls out an automatic and instructs George to head South, the pavement ends and they lay down a dust contrail across the desert.



Desert truck stop with Christmas garland decorations

Hijacked



When they blow into Larry's, Chevy tells him that he's got a contract to take out George. George naturally thinks it's because of hot loot in the trunk. Larry happy to see company, offers to barbecue some steaks for George's last meal.


Larry (Jerry Orbach) greets his mob protégé Chevy (Kyle Secor) rt.

They all hang out at the Airstream. Larry puts some steaks on the barbeque while Patti slips on a red bikini and goes swimming. She flashes her ass at the boys.

Patti taking a desert pothole swim



Patti mooning the guys

Chevy grabs lacrosse stick and using it as a net wades out in the lake trying to catch a fish. On shore, Larry offers George a beer. Patti comes out of the water and starts looking around for ants for her pet lizard. George is looking at his keys where Chevy left them laying on top his clothes.



Patti notices that George is looking at his car keys, she's feeling sorry for him and wanting him to get away. She gives him a knowing stare and creates a diversion by letting her lizard out of his jar. She screams to Larry to help her and while he is distracted George grabs the keys, hops in the Volvo and speeds off. 




Unfortunately, the road makes big loop around the lake and Larry and Chevy are waiting for him with Larry's pickup blocking the path. They bring George back to the campsite nd handcuff him to the awning support rod.



Larry apologizes to Chevy for letting George escape. But Larry is told by Chevy that the story of the contract on George was all BS. 

You're screwed Larry


The contract was really on Larry and Chevy used George as cover to get his guard down. Larry tries to plead for his life but Chevy isn't buying. 


Larry tries to grab for his gun but Chevy is quicker. Chevy makes George load Larry's body into the trunk of the Volo toss in a shovel and then drive back into Death Valley. 


George is soon digging two graves way out in the desert. 


While digging George throws a shovel full of dirt into Chevy's face and makes a grab for the automatic. They roll round on the ground fighting for the gun.  Chev breaks free and points it at George.


He's toast, right? No, Chevy pulls the trigger on George and gets just an audible click. He is out of bullets. A quick thinking Patti, (who has been visibly warming up to George) quickly tosses what's left of Chevy's bullets in the cartridge box out into the sand and covers the over with  flick of her foot.  Chevy has no choice but to push George off a nearby bluff and leave him to the buzzards.


Chevy is pissed off at Patti, but he's not sure if she did anything for certain. Plan B. He takes George to the top edge of a nearby ridge and knocks him in the head so that he falls rolling down a few hundred feet. Chevy figures that if the knock on the head and the fall didn't kill him, dying of thirst in the oven heat will. He'll leave him to the buzzards. 

Patti and Chevy drive back to the Airstream and from there call ahead to make reservations at the Death Valley Junction Hotel. 


On the way to the hotel t the ghost town of Rhyolite the Volvo gets a flat. Chevy grabs the lug wrench, loosens the nuts and jacks up the car. He tells Patti to bring him the spare tire. Patti opens the trunk, lifts the floor panel to get the tire and finds George's embezzled half million. She says nothing, unzips her traveling bag and transfers the cash to it while Chevy asks her what is taking so long.

Rhyolite flat tire

Once at the Death Valley Junction Hotel they check in and Chevy leaves Patti at the room and heads to Vegas to pick up his hit loot from his mob boss in Las Vegas. 

Meanwhile....

The push of George off the ridge in Death Valley and the dust plume he made down the slope was  witnessed by a motorcycle mamma, a desert rat biker. 


He's sticking out like a sore thumb against the drab landscape. She thinks its her old man so she heads off across the terrain to see. She finds George who is roughed up but still very much alive. He asks her to bring him back to the Airstream. 




At Larry's Airstream, George grabs a bottle of booze. He sits on the couch. Out side the window the lights from a pathetic prickly pear "Christmas" cactus "tree" twinkle in the background. 


He's trying to figure out his next move, he gets a bright idea and hits the redial on the phone. That tracks Chevy and Patti to the Death Valley Junction Hotel.  George cleans up grabs some of Larry's clothes, and finds a revolver. 





George is now in full Noir payback mode. He drive to the Hotel where it all goes Noirsville.

Noirsville

























































The entire film is dominated by the burnt umber, yellow ochers, and the bleached whites of an immense desert laughingly juxtaposed, whenever we see the barest traces of habitation, with the most miniscule pathetic looking Christmas decorations imaginable. 

Character actor Tracey Walter is in a nice cameo as the desert rat owner of a Death Valley Junction fly speck-dump. The film has an interesting soundtrack, by Barry Adamson, though in retrospect a soundtrack of Diegetic sounds of say Country-Western Christmas tunes blaring from radio stations would have probably been eerie-er.  

For an extremely low budget "B" a 10/10 for effort, as is a 7/10 it may be a lost Neo Noir, needs a widescreen DVD or Blu restoration/release. The new improved screencaps are from an online streamer.



Saturday, February 6, 2016

Neo Noir Image Of The Week











7th Street, Hudson, NY, Hudson filled in as the location for Melton, NY in
 one of the last of the '50s Film Noirs "Odds Against Tomorrow". The corner
where the tracks curve is Warren Street. That's where Harry Belafonte
crosses 7th Street, in the film. There are still quite a few of the
 films locations left in Hudson.




Thursday, February 4, 2016

Experiment In Terror (1962) San Francisco Tail Fin Noir

A neat 1962 Suspense-Thriller Noir that fits into that particular period from mid to late 1950's early 1960's that is visually defined on cars by the Space Age design feature the tail fin, and by Googie style signage and architecture. Released by Columbia Pictures, the film was directed by Blake Edwards, Mickey Spillane's 'Mike Hammer!' (TV Movie 1954) Days of Wine And Roses (1962), and written by Mildred and Gordon Gordon and was based on their 1961 novel, Operation Terror.

The film stars Glenn Ford (seven classic noir films), Lee Remick (Anatomy of a Murder (1959)), Stefanie Powers, and Ross Martin. Supporting cast Ned Glass, Anita Loo, Patricia Huston, Clifton James, Al Avalon, James Lanphier, and William Sharon. The film is greatly enhanced by the excellent cinematography by Philip H. Lathrop who was assistant camera on Kiss the Blood Off My Hands (1948), camera operator on (The Raging Tide (1951), Touch Of Evil (1958), lensed as cinematographer a couple of critically forgettable Paul Henreid directed films, and a string of TV series, (Rawhide, and the noir-ish, Mr. Lucky, Peter Gunn, and Perry Mason)
























The film's night time opening title sequence is of Kelly Sherwood (Lee Remick), driving 58 Ford Fairlane Sunliner top down convertible across the San Francisco-Oakland Bay Bridge. She is framed against a twinkling San Francisco skyline that features inky blacks pierced by strings of pearl streetlights and moving headlights becomes a harbinger of the noir stylistics to come, breathtaking contrasts, and unsettling camera angles.

San Francisco -Oakland Bay Bridge





















bridge approach

Twin Peaks sign

Tailfins
Sherwood is a cute bank teller who lives on a hill overlooking the city with her 16-year-old sister (Stefanie Powers) in the Twin Peaks section of San Francisco. As we continue to follow her home from a party in Oakland to her house, she is grabbed from behind after she gets out of her car and is assaulted in her dark garage by a man with a raspy wheezing voice. The shot is in an uncomfortable extreme close-up. The Wheezer threatens to either kill her or her sister if she doesn't cooperate in his plan to rob her bank. The man ratchets up the terror factor by letting Kelly know that he has been stalking them for a while, he even emphasises the point that he even knows intimate things, i.e., her measurements. The way the scene plays out we know that he is fondling her as he calls out her hips, waist, and bust size by her reactions.

Wheezer attacks

Hips, Waist, Bust, fondling sequence 
When the man leaves, Kelly not very intimidated, goes into her house and dials up the FBI. She's switch boarded to Agent John 'Rip' Ripley (Glenn Ford) who is just able to get her name before the line goes dead.  It's The Wheezer, he assumed that she'd make her call for help and entering her house he's smacked her to the floor and hung up the phone. When Kelly comes to he tells her that she get's to make this one mistake, and she'd better follow his precise instructions from now. The Wheezer leaves again and an increasingly terrorized Kelly is immobilized by fear.  Lying in despair by the phone she is startled when it suddenly rings. It's the FBI, Ripley and the bureau has managed to suss out where she lives.

aborted phone call

Ripley FBI





















The film balances between being a policer and a suspense thriller that surprisingly keeps Kelly pretty level headed throughout, and doesn't fall into the now greatly over used "saviour becomes lover" trope. Ripley and the G men are all business. They search for similar MO's and chase leads. They even get a small break when one of The Wheezer's gal pals Nancy Ashton (Patricia Huston), who has a mannequin repair business, suspects something is up and nervously visits the FBI with her suspicions. Nancy fibs a bit telling Ripley that it's her friend that's in trouble, she even propositions Ripley for a date but again stressing professionalism Ripley begs off.  Nancy later works up some courage and phones Ripley to tell him that she has information and asks him to drop by but Wheezer kills her before Ripley arrives.

Ashton and Ripley





















Ripley listens to Ashton's story





















Ashton mannequin repair 

Waiting for Ripley

Ashton dead and nude and hanging from the ceiling





















A police informant named "Popcorn" (Ned Glass in a nice cameo) who sells tips supplies more pieces to the puzzle telling the FBI that he's overheard phone conversations between a forger and man that fits their MO a man named Red Lynch. Lynch raped and killed a bank teller in Kansas after she would not go along with his scheme. Lynch's profile also shows that he is fond of Chinese females, which sends Ripley and the FBI into Chinatown with mug shots of Lynch.

Chief, Popcorn, Ripley





















The film even has a somewhat humorous sequence, when The Wheezer gives Kelly instructions to meet at The Gay Nineties Club, the place is packed with customers and also FBI men. As Kelly walks around trying to meet with Wheezer she is looking at various men and in tern attracting their attention while under surveillance . One guy approaches her thinking she is a hooker, and Kelly at first assumes that he is the Wheezer. She walks out of the club with him and to his car, as they drive away, followed by a convoy of FBI cars, he indicates that she should move closer and sit beside him. She balks saying that it's only business, the guy is thinking OK she wants money. When Kelly suddenly realizes he thinks she's a prostitute she bolts from the car and he is surrounded by FBI agents with drawn guns.

Kelly picked up as a common prostitute






















Wheezer.....





















....revealed as Red Lynch






















As the asthmatic schizophrenic killer Red Lynch (Ross Martin), practically steals the show. Martin isn't just a single layer - one note villain, he is eventually revealed as having a normal serious relationship with a Chinese woman named Lisa Soong (Anita Loo), serious to the extent of paying the hospital costs for her son's hip replacement operation. He even visits him at the hospital, bringing him expensive stuffed animals. This normality all proves his Achilles heel.

Stefanie Powers is perfect as Toby, Kelly's younger sister who is still a bit of an awkward teenager, still that has that little bit of baby fat, but you can see beyond to the beauty that she will become.

I can't express enough how much this late Film Noir is an addictive visual treat, it's full of striking compositions, skewed by unsetting camera angles, teeming with bizarre interior sets all added to wonderful San Francisco location shots.  The film also has a good score from long time Blake Edwards collaborator Henry Mancini. 9/10

Noirsville


High Angle

Low Angle

Low Angle

Low Angle

Low Angle Anita Loo (right) 

Noirish

San Francisco

San Francisco

Tailfins

Tailfins

Toby (Stefanie Powers) and Red (Ross Martin)



William Sharon




















Noirish




















Noirish

Noirish

Could this be the first hoodie as bad guy? Ross Martin

Tuesday, February 2, 2016

Noirsville Film Noir - Short of the Month


Time Pieces

Homage to Film Noir, Neo Noir, Private Eyes and Femme Fatales. . . 
a detective waits at a station for an old flame and a suspected jewel thief.
































Monday, February 1, 2016

Noirsville Iconic Artwork of the Week

Inaugurating a new feature today, Iconic Artworks that you could say either inspired, influenced, or continue the Film Noir and Neo Noir aesthetics. Artists such as Edward Hopper  (1882 – 1967), and those of the Ashcan School, Robert Henri (1865–1929), George Luks (1867–1933), William Glackens (1870–1938), John Sloan (1871–1951), and Everett Shinn (1876–1953), and Photographers (Weegee) Arthur Fellig (1899 –1968), Brassaï (pseudonym of Gyula Halász (1899 – 1984), Diane Arbus (1923 – 1971) and Susan Meiselas (born 1948). 

Nighthawks (1942) oil on canvas painting by Edward Hopper inspired by a Greenwich Village late night cafe



Noirsville Tune Of The Week

Another aural noir from Tom Waits, enjoy



Please Call Me, Baby


The evening fell just like a star
Left a trail behind
You spit as you slammed out the door
If this is love we're crazy
As we fight like cats and dogs
But I just know there's got to be more

So please call me, baby
Wherever you are
It's too cold to be out walking in the streets
We do crazy things when we're wounded
Everyone's a bit insane
I don't want you catching your death of cold
Out walking in the rain

I admit that I ain't no angel
I admit that I ain't no saint
I'm selfish and I'm cruel but you're blind
If I exorcise my devils
Well my angels may leave too
When they leave they're so hard to find

Please call me, baby
Wherever you are
It's too cold to be out walking in the streets
We do crazy things when we're wounded
Everyone's a bit insane
I don't want you catching your death of cold
Out walking in the rain

We're always at each other's throats
You know, it drives me up the wall(1)
Most of the time I'm just blowing off steam
And I wish to God you'd leave me
Baby, I wish to God you'd stay
Life's so different than it is in your dreams

Please call me, baby
Wherever you are
It's too cold to be out walking in the streets
We do crazy things when we're wounded
Everyone's a bit insane
I don't want you catching your death of cold
Out walking in the rain