Scarecrow Academy: The Art In Noir Part 2 begins October 2. New installments every Saturday at 2:00pm.
Scarecrow Academy presents Part 2 of an in-depth look at how some of the greatest directors in cinema tackled film noir, that great flowering of anxious, pessimistic crime movies after World War II—and this time we extend the idea into later decades of “neo-noir.” The Art in Noir Part 2 is an eight-week screening/discussion series in which we’ll analyze directing methods in detail, and define what makes great style in this celebrated American genre.
Discussions are led by National Society of Film Critics member Robert Horton, author of the Seasoned Ticket column at the Scarecrow blog and Scarecrow’s “Historian-Programmer in Residence.” The Zoom sessions are free and open to all; there’s no homework, but we ask that you register online in advance. We’ll be meeting on Saturdays at 2 p.m., beginning October 2, 2021.
**Please do watch the films before attending these discussions. You can rent them from us or check streaming options below.**
The Art in Noir schedule:
The Killing (1956, directed by Stanley Kubrick). At the beginning of a mighty career, Kubrick deconstructs the heist film in this taut gem, featuring a gallery of juicy character actors led by Sterling Hayden. 84 minutes.
And here’s a preview from your host:
Point Blank (1967, directed by John Boorman). Noir blooms in its full Sixties-existential phase, as Boorman’s colorful, fragmented style take Lee Marvin down a series of dreamlike routes to revenge. 92 minutes.
The Long Goodbye (1973, directed by Robert Altman). Altman, America’s great revisionist filmmaker, steers the private-eye picture (adapted from Raymond Chandler, no less) into a hazy, sunlit, disillusioned Seventies, keyed by Elliott Gould’s shambling lead performance.
Chinatown (1974, directed by Roman Polanski). Another private-eye film—this time with Jack Nicholson the indelible gumshoe—but here Polanski’s razor-sharp nose for classical filmmaking reveals a profoundly pessimistic vision of corruption both civic and personal.
Cutter’s Way (1981, directed by Ivan Passer). The languid existence of three friends is suddenly energized by a local murder—and the possibility of getting the killer. Evocatively made by Czech émigré Passer, with career-best work from Jeff Bridges and John Heard.