{"id":3058,"date":"2011-06-13T10:51:53","date_gmt":"2011-06-13T14:51:53","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=2107"},"modified":"2011-06-13T10:51:53","modified_gmt":"2011-06-13T14:51:53","slug":"colour-noir","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3058","title":{"rendered":"Colour Noir"},"content":{"rendered":"<div id=\"attachment_2109\" class=\"wp-caption alignleft\" style=\"width: 102px\"><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/06\/ViolentSaturday_Fr_poster_m.jpg\"><img loading=\"lazy\" class=\"size-full wp-image-2109\" title=\"ViolentSaturday_Fr_poster_m\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/06\/ViolentSaturday_Fr_poster_m.jpg\" alt=\"\" width=\"92\" height=\"190\" \/><\/a><\/p>\n<p class=\"wp-caption-text\">Merde! Les inconnus sont ici! Zut, alors!<\/p>\n<\/div>\n<p>Some purists believe there\u2019s no such thing as a \u2018colour  noir\u2019;<em> film noir<\/em>, according to their logic, must be in filled with grays  because the genre began with starkly photographed black &amp; white (\u2018noir\u2019)  cinematography.<\/p>\n<p>It\u2019s an oversimplification, arguing the visual palette  determines the genre, which isn\u2019t so; high contrast lighting and compositions  are possible in colour and wider film ratios, but in<em> film noir<\/em>, it\u2019s the story  and characters that determine the genre.<\/p>\n<p>I tend to argue <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/j2l\/3006_LeaveHer2Heaven.htm\">Leave Her  to Heaven<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=2526\">M<\/a>] (1945) as  the best example of early colour noir because it\u2019s about bad behaviour, illicit  love affairs, murder, and terrible consequences for innocents and wayward  souls.<\/p>\n<p><strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/v2z\/3889_ViolentSaturday1955.htm\">Violent  Saturday<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=3050\">M<\/a>] (1955) fits  that formula perfectly because it uses colour to enhance the bleakness of the  dusty Arizona  environment, widescreen cinematography to emphasize the slowly crumbling  stability of the town\u2019s social order, and features a great balance of plot,  tension, and sleaze designed to tease the censor board\u2019s apparatchiks.<\/p>\n<p><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/06\/ViolentSaturday1955.gif\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-2108\" title=\"ViolentSaturday1955\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/06\/ViolentSaturday1955.gif\" alt=\"\" width=\"72\" height=\"101\" \/><\/a>Directed by Richard Fleischer, this tight little gem has a  superb cast, featuring Victor Mature, Richard Egan, Stephen McNally, J. Carrol  Naish, Lee Marvin (he<em> hates<\/em> kids),  and Ernest Borgnine in the oddest role he could possibly take after starring as  a NYC blue collar Joe in <strong>Marty<\/strong> (1955).<\/p>\n<p>Twilight Time\u2019s DVD also features an isolated score track of  Hugo Friedhofer\u2019s music, and is the new label\u2019s third release, after John  Huston\u2019s <strong>The Kremlin Letter<\/strong> (1970)  and Ralph Nelson\u2019s <strong>Fate is the Hunter<\/strong> (1964) &#8211; films for which reviews will be up this week.<\/p>\n<p>The label\u2019s titles are only available through <a href=\"http:\/\/www.screenarchives.com\/title_detail.cfm\/ID\/15085\/VIOLENT-SATURDAY-DVD-1955\/\" >Screen  Archives Entertainment<\/a>, and are limited to 3000, but they are commercially  produced DVDs, not MOD DVD-Rs.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><strong>Mark R. Hasan<\/strong>,  Editor<br \/>\n<strong><a href=\"http:\/\/www.kqek.com\/Main_Index_Page.htm\">KQEK.com<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Review of Richard Fleischer&#8217;s superb &#8216;colour noir&#8217; suspenser, Violent Saturday (Twilight Time)&#8230;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[1],"tags":[532,352,181,529,4212],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-Nk","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3058"}],"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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3058"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3058\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3058"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}