Film Noir Classic Collection, Vol. 3 (Border Incident / His Kind of Woman / Lady in the Lake / On Dangerous Ground / The Racket)

Film Noir Classic Collection, Vol. 3 (Border Incident / His Kind of Woman / Lady in the Lake / On Dangerous Ground / The Racket)
Studio: Warner Home Video Release Date: 07/18/2006
Customer Review: My Kind of Movie
Save your money about the current movie about the dog that poops and dies, and discover the power of movies to engage us at deep, unsuspected levels. Plot is usually secondary in film noir (with the exception of "The Maltese Falcon"); atmosphere, understated acting (Jimmy Stewart is practically the antithesis of film noir), and exquisitely shadowed cinematography reign supreme. Westerns, long the most popular genre in American film, examine our personal relationship to nature; film noir examines the complexities of modern urban existence and our place in a dangerous and deceptive social milieu, a world that can paradoxically leave us as isolated as the Western loner. The quintessential archetype of the Western is John Wayne and "The Searchers"; the same position in film noir is occupied by Bogart and practically any of his films from the 1940s. Later color films can qualify, providing the colors are muted so completely they play like black and white--prime examples: "Chinatown" and Clint Eastwood's underrated "Tight Rope"). America's obsession with film noir throughout the 1940s is testimony to a pervasive paranoia or a sophisticated appreciation of film art or both. The stand-outs in the present collection are: 1. Robert Ryan and the Bernard Herrmann score for "On Dangerous Ground" (great title for a work on film noir, a genre that transplants us from the open plains to the shadowy, mysterious streets of the inner city--though surprise!--in this film the country ground is no more stable or peaceful or less "noirish" than the dark and treacherous urban pavements. Ryan, the heavy-weight-boxer-turned actor (in real life) gives another nuanced performance (in reel life); the score could not have been composed by any other than the composer of the music for "Vertigo" (splendid movie but too "operatic" to qualify as film noir); 2. "His Kind of Woman" may be the most multi-layered example of film noir yet. The fact that Vincent Price doesn't steal the show in what is arguably his best performance is a tribute to the smoldering, sensual power of the "love dance" between Mitchum and Russell on screen (after viewing him in this film, I can finally understand his appeal. That glide--the legs moving without the participation of the torso--is as unique a form of poetic pedestrian choreography as the John Wayne stride). If all this weren't enough, there's Raymond Burr in one of the most cruel, sadistic, obsessively psychotic roles ever filmed. But in the end, the film becomes swashbuckling, slapstick farce, equal parts Erroll Flynn, Mack Sennett, and Shakespeare--all of it harmonizing thanks to the charming, forgivably narcissistic theatricalism of Vincent Price. The film is at once a remarkable example of film noir and a send-up of the entire genre. In a Special Features section included with each film are extended commentaries, often of questionable worth. On this latter one, the scholar repeats the word "wonderful" as often as Caroline Kennedy says "Y'know" and attributes Price's Shakespearean quotes to the wrong plays. The violent thriller "Border Incident," while not prototypical film noir, receives perhaps the most insightful, thoughtfully-scripted commentary from an NYU prof, though the political emphasis is often overdone (mustn't allow the slightest stereotyping of Hispanics go unnoticed, even though the filmmakers probably imagine they're pro-Mexican--the kinds of observations that, after awhile, take on a self-congratulatory quality while perhaps the most excruciating death scene ever filmed somehow gets explained away in glib archetypal/political talk. And why not pay as much attention to George Murphy's idiosyncratic "look" and acting on-screen as to his political sympathies off-screen?). But each includes at least some fascinating trivia and, best of all, they give the viewer an excuse to watch the films a second time. Each flick is well worth it!
Customer Review: well worth the price!!
This set in a way is an unusual mish mash of film noir... there is nothing really in common between the movies besides the broad elusive banner of 'film noir'.. But there is much to love here and for a reasonable price.. My favorite film of the set is the Nick Ray gem - 'on dangerous ground' - which is a beautiful example or Ray's mastery.. and it features a soundtrack by Bernard Hermann... Robert Ryan gives a solid performance as a cop with a serious problem.. Another great film in the set is 'The Racket' which also features Ryan along with Robert Mitchum... It is a pretty bleak tale of the underworld which at times absolutely sizzles.. 'Border Incident' is a film which has some great moments.. It is directed by the great Anthony Mann.. It is a very poignant tale which is very relevant to modern issues.. It shows that the issue of immigration has roots in the past and corruption.. not just the modern 'invasion' that fox news would have you believe.. a complex movie on a complex topic beautifuly filmed.. 'His kind of Woman' is probably the most 'fun' of all the films.. Robert Mitchum and Vincent Price light up the screen - in a film that is almost as comic as film noir gets.. Which brings me to the final film 'Lady in the Lake' which is unintenionally comic.. It was a bold experiment in using a subjective camera throughout an entire picture.. in my opinion it fails.. but in a way it is so bad its good.. i wish mystery science theatre would have a go at this one.. but it is interesting to see nontheless.. and a piece of film noir history..