Species Of Noir, The Curse Of Google, And The Dangers Of Taking Stairs Quickly

Last Tuesday morning I was feeling quite optimistic about my golf game. I was due for an early start with the Seniors Section at Royal Pype Hayes and I had it in mind that I had learned the lessons of my humbling at Ynys Mon the previous week. Yes, this was going to be a good round, two in fact because my ambitious plan was to play two games in a day. The Monday night rugby/cricket boys had switched to Tuesday on account of bank holiday. What I had left out of my tactical armoury was a plan for getting downstairs. Long story short, I came a right pearler and fucked my back up (medical terminology) good and proper. A week on and I am still feeling the pain of the splenetic trauma (idiomatic slang) and golf is definitely off the menu. So is any form of exerecise. Silly old bastard.

Whilst I have been laid-up I have been watching a lot of television and old films. Until now it has not even been comfortable to hold a book - I am strangely particular about the right conditions for reading. There has been a lot of the noirish but first the widescreen spectacular. The Robe was the first film exhibited in Cinemascope. I would like to see it in the cinema but a decent print on a largish modern television still gives some idea of the spectacle. Richard Burton allegedly hated his own performance in it (for which he received the first of his multiple failed Oscar nominations) but I thought he was rather good. 70/100.  

Not all of the classic noir tropes are deployed (no narration, no flashbacks for instance) but The Big Sleep is beyond doubt film noir. Humphrey Bogart as Philip Marlowe spits out the crackling dialogue with huge presence and the atmosphere itself crackles when Lauren Bacall joins him on screen. It is not original to call this a great film but it is correct. And I do still love to wheel out the fact that Marlowe's creator was, like that other great writer P.G. Wodehouse, an Old Alleynian. On occasion you have to doff your cap to the English public school system. 90/100.

Many years ago (I was so much older then, I'm younger than that now) I compiled a list of my fifty favourite movies. That list would change a good bit if I undertook it again but I do recall that Orson Welles' Macbeth was on it then and, having revisited it, it would be today. In this I diverge from my learned doctoral supervisor. Yes, it is full of faults, not all of them down to the straitened financial circumstances in which it was produced, but it does manage to convey the visceral darkness that is at the heart of this, Shakespeare's tautest tragedy. Renaissance noir. 83/100. Mind you, if you really want to see Macbeth at its best on screen, take in Kurosawa's Throne of Blood.  

Next some Gotham Noir. I must declare an interest - I think Christian Bale is superb in pretty much anything he does. Thus I came to The Dark Knight Rises pre-disposed to enjoying it. It is perhaps the weakest of Christpher Nolan's Batman trilogy but we are talking about three very good movies here. 71/100. As I allocate that grade, I wonder if I am guilty of watching only good films these days. Old time is on our tracks boys and there may not be time to accommodate the mediocre. On which topic, I heard a voice I respect proposing 2001: A Space Odyssey as a great film. Should I give it yet another chance? The defect is probably mine.

I will finish with a film of the New Noir West, No Country for Old Men. But before I turn to that, a note of sadness. The film is adapted from the novel by Cormac McCarthy. I was introduced to McCarthy's fiction by the poet/academic Anthony Mellors. I googled Anthony to see where he might now be hanging his academic hat and/or practising his poetic art. It transpires that he died last year. We were very diffferent people but I regarded him as a good bloke - a designation he might have found amusing. 

Anyway, No Country for Old Men, a bleak tragedy of America's New West. It is testament to the brilliance of McCarthy and also that of the Coen Brothers who produced the film. Roger Ebert regarded their Fargo as a genuinely great movie and his conclusion that No Country is every bit as good is correct. 91/100.