{"id":12990,"date":"2016-01-22T15:04:22","date_gmt":"2016-01-22T20:04:22","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=12990"},"modified":"2016-01-22T15:27:13","modified_gmt":"2016-01-22T20:27:13","slug":"a-film-noir-trio-house-of-bamboo-1955-street-with-no-name-1948-and-cry-vengeance-1954","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=12990","title":{"rendered":"A Film Noir Trio: House of Bamboo (1955), Street with No Name (1948), and Cry Vengeance (1954)"},"content":{"rendered":"<p>I went a bit overboard in what should\u2019ve been a series of upgraded reviews to total rewrites for a pair of films that, like <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=12878\">House of Strangers<\/a><\/strong> (1949) and <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=12880\">Broken Lance<\/a> <\/strong>(1954), represent a quirk in Twentieth Century-Fox\u2019s production mindset once all major films were slated for Deluxe Color and CinemaScope: even if a previously story was just a few years old, a massive transposition made it viable for a remake.<\/p>\n<p>The norm today is sequels, prequels, and remakes of better foreign films and TV series \u2013 building on an existing property or franchise with a pre-existing audience \u2013 but Fox, whom I doubt wasn&#8217;t alone, was comfortable redoing good stories in new genres if done right, and as the aforementioned classics confirmed, it was more than possible to overhaul a good tale into another gripping drama.<\/p>\n<p><a href=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/01\/HouseOfBamboo_BR.jpg\"><img loading=\"lazy\" class=\"alignleft  wp-image-12999\" alt=\"HouseOfBamboo_BR\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/01\/HouseOfBamboo_BR.jpg\" width=\"96\" height=\"121\" \/><\/a>So this set of reviews features <a href=\"http:\/\/kqek.com\/mobile\/?p=12993\"><strong>The Street with No Name <\/strong><\/a>(1949), a great noir by William Keighley, and Sam Fuller\u2019s nutty<a href=\"http:\/\/kqek.com\/mobile\/?p=12997\"><strong> House of Bamboo<\/strong><\/a> (1955).<\/p>\n<p>Both were previously released by Fox in special edition DVDs, and Twilight Time\u2019s new Blu of <strong>Bamboo<\/strong> sports a gorgeous transfer, new commentary, and Leigh Harline\u2019s great booming score in 5.1.<\/p>\n<p><a href=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/01\/CryVengeance1954.jpg\"><img loading=\"lazy\" class=\"alignleft  wp-image-12991\" alt=\"CryVengeance1954\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/01\/CryVengeance1954.jpg\" width=\"96\" height=\"134\" \/><\/a>I\u2019ve also added <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=12988\">Cry Vengeance<\/a><\/strong> (1954), which Olive Films released on DVD and Blu a while back, because it\u2019s another shot-on-location forgotten noir starring and directed by <strong>Street<\/strong>\u2019s co-star, Mark Stevens. It\u2019s not a classic, but it is a neat little revenge drama that also boasts a strong score by the underrated Paul Dunlap.<\/p>\n<p>More goodies to follow this weekend,<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Mark R. Hasan<\/strong>, Editor<br \/>\n<strong>KQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviews of 3 unique film noirs: Sam Fuller&#8217;s House of Bamboo (Twilight Time), William Keighley&#8217;s The Street with No Name (Fox), and Mark Stevens&#8217; Cry Vengeance (Olive Films).<\/p>\n","protected":false},"author":1,"featured_media":13005,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[4211,2562,352,2563,4206,4207,4199,4209,4203,4204],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/01\/HouseOfBamboo_featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3nw","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12990"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12990"}],"version-history":[{"count":7,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12990\/revisions"}],"predecessor-version":[{"id":13010,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12990\/revisions\/13010"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/13005"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12990"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12990"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}