An Axis of Noir Cinema: Japanese & German Cinema, Noir City 2014

Last night packed a wallop.

Two films that left me reeling (literally and figuratively, since they were both shown in 35mm!) with the enormity of Akira Kurosawa’s cinematic greatness and Toshiro Mifune’s extreme handsomeness. Oh, I have a deep crush on that man!

But I will not lie: both DRUNKEN ANGEL (1948) and STRAY DOG (1949) were challenging to me in their pacing. I did find that exciting though. And it left me excited and allowed me to really soak in the visuals and the work that was being spread out before me. I found myself thinking that I wanted to see these films again on a big screen because the first time was much like that first coat of paint- it may work, but you need another one to make absolutely certain that the color “sticks.” Whatever the case, I LOVED THESE FILMS and even moreso? I loved the experience of seeing them in a theater full of people.

Truly, the Castro Theater and its audience is one of THE most film-loving and interactive and genuine that I have ever experienced. It’s a real joy.

STRAY DOG (Akira Kurosawa, 1949)

STRAY DOG (Akira Kurosawa, 1949)

DRUNKEN ANGEL (Akira Kurosawa, 1948)

DRUNKEN ANGEL (Akira Kurosawa, 1948)

 

I am particularly excited about tonight’s films, as I get to see my main noir homeboy Robert Ryan in BERLIN EXPRESS, directed by Jacques Tourneur, along with Merle Oberon and good ol’ Charles McGraw in there. But before that? A real treat in THE MURDERERS ARE AMONG US, by Wolfgang Staudte.

THE MURDERERS ARE AMONG US (1946)

THE MURDERERS ARE AMONG US (1946)

BERLIN EXPRESS (1948)

BERLIN EXPRESS (1948)

 

As before, hope that you’ve escaped the shadows and darkness of the outer world and are able to join us in the gorgeousness of the Castro Theater!

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