#Noirvember 2023

Another Noirvember is upon us. I’ve been pretty spotty in trying to take part in these online events, so once again I’m going to try my best to participate. #Noirvember is an ode to all that is film noir that was started a few years ago by @oldfilmsflicker on Twitter. It’s become a highly anticipated event that has taken on a life of its own and is now promoted by everyone from film fans to movie theaters.

Anyway, because I can’t just simply watch film noir in November, I have to make myself some sort of challenge. One reason is that it makes it more interesting and forces me to check out films, actors, directors, etc. that I may not have otherwise, or it would have taken me longer. While deciding what to do for my challenge, I wanted to make sure that I allowed myself to watch old favorites like Double Indemnity (1944). However, I want to make sure that I also watch some new titles–if only to get through some of the blind buys that I’ve purchased throughout the year. I don’t want to force myself to only watch “new” films, because then I’ll be sad that I can’t watch my favorite Alan Ladd film noir (e.g.). While I did this challenge in the past and ALMOST finished it, I am going to give it another go this month–I am going to follow-up my next film noir with a film that has an actor in common with the film that preceded it.

I’m also not going to limit myself to just one film per day. Some days I can fit in only one film, other days I can fit in 2-3. Due to my regular Monday night board game group, I may not be able to get a film noir watched every single day; but I’ll do my best. I’m also hoping that I can finagle it where the last film I watch connects to the first film. We’ll see what happens as my movie watching will be organic. I do not have it planned out in advance! Just to keep myself on my toes.

Without further much ado. These are the films watched for #Noirvember. Click on the link to view more information about the film and to see what connected it to the previous film!

EDIT: Woo! Did it. The final film, The File on Thelma Jordon, connects to the first film, Double Indemnity, using the Queen of Film Noir, Barbara Stanwyck.

November 1st- Double Indemnity (1944)

November 1st- Singapore (1947)

November 2nd- The Killers (1946)

November 3rd- White Heat (1949)

November 4th- Red Light (1949)

November 5th- Race Street (1948)

November 5th- The Glass Key (1942)

November 6th- Shakedown(1950)

November 7th- Brute Force (1947)

November 8th- Mildred Pierce (1945)

November 9th- The Unfaithful (1947)

November 10th- The Mask of Dimitrios (1944)

November 12th- Gilda (1946)

November 14th- Human Desire (1954)

November 14th- In a Lonely Place (1950)

November 15th- Dark Passage (1947)

November 16th- Key Largo (1948)

November 17th- Murder, My Sweet (1944)

November 19th- Pitfall (1948)

November 25th- Too Late for Tears (1949)

November 26th- Desert Fury (1947)

November 29th- Sorry, Wrong Number (1948)

November 30th- The File on Thelma Jordon (1949)

The Celluloid Road Trip Blogathon: Int’l Edition–“Gilda” (1946)

GILDA: “You do hate me, don’t you, Johnny?”
JOHNNY: “I don’t think you have any idea of how much.”
GILDA: “Hate is a very exciting emotion. Haven’t you noticed? Very exciting. I hate you too, Johnny. I hate you so much I think I’m going to die from it. Darling…”
[GILDA and JOHNNY kiss passionately]
GILDA: “I think I’m going to die from it.”

Rita Hayworth as “Gilda” and Glenn Ford as “Johnny” in Gilda (1946)

It is said that there is a fine line between love and hate. The above quote between the two central characters in 1946’s Gilda perfectly illustrates this phrase. At the beginning of the film, our anti-hero Johnny Farrell (Glenn Ford) is shooting craps in an alley in Buenos Aires, Argentina. He wins handedly using a pair of loaded dice. When his opponents realize they’re being cheated, Johnny’s life (and winnings) is at stake. He is saved by a mysterious stranger, Ballin Mundson (George Macready). Ballin tells Johnny about a nearby illegal high class casino, but warns him against cheating. Johnny doesn’t heed Ballin’s warnings however, and is caught cheating at Blackjack. He’s brought in front of the owner who turns out to be Ballin. Johnny turns on the charm and smooth talk and convinces Ballin to hire him. He soon becomes Ballin’s casino manager.

“There NEVER was a woman like Gilda.”

Time passes and Ballin leaves for a trip. When he returns, he announces to Johnny that he’s married and wants to introduce his new wife, Gilda. Cue one of the most famous film entrances of all time–Rita Hayworth’s “Gilda.” With a flip of the hair and a seductive, “Me?… Sure I’m decent,” Gilda enters the fray. Johnny’s face transforms into a scowl as he spots the new Mrs. Mundson. Gilda also appears simultaneously angry and surprised. It is obvious from Johnny and Gilda’s reactions that these two have a past–an unhappy past, at that. The circumstances of their previous relationship are never made clear; but it would seem that Johnny hurt Gilda deeply. She still loves him, but he harbors some type of resentment towards her. Ballin seems clueless to Johnny and Gilda’s body language and assigns Johnny to watch over her. This ignites a vicious game between Gilda and Johnny where she, out of anger towards Johnny, cavorts with other men at all hours to make him jealous. Johnny, out of loyalty to Ballin, does all he can to break up Gilda’s dates and cover up her supposed affairs.

JOHNNY: “Pardon me, your husband is showing.”

Glenn Ford as “Johnny” in Gilda (1946).

The type of relationship Ballin and Johnny have with one another is up for debate. On the surface, it would appear that Johnny is fiercely loyal to his employer. However, other classic film fans and experts have found homoerotic subtext in the Ballin/Johnny relationship. I am not well-versed in this subject and honestly never considered this angle; however, having seen the film multiple times, I understand this interpretation. Not being an expert, I am not going to analyze the film from this viewpoint. In the spirit of this blogathon’s theme of an “international road trip,” I want to discuss Johnny and Gilda’s relationship and how it unfolds against the Buenos Aires, Argentina and Montevideo, Uruguay setting.

One of the most famous film entrances of all time.

Gilda was originally supposed to be a gangster film set in the United States. It was decided to switch the setting to Argentina. During the 1930s and 1940s, Franklin Delano Roosevelt promoted the “Good Neighbor Policy,” as a means to improve the United States’ relationship with Latin America. Hollywood was encouraged to set films in Latin America and depict the countries and people in a positive light. The Latin America in Gilda is depicted as a tropical, fun, sexy, romantic, wealthy, cosmopolitan city inhabited by people from all walks of life. Buenos Aires, Argentina’s capital, is often promoted as “the world’s most beautiful city.” This seems the perfect setting for the gorgeous Rita Hayworth, whose luminous face shines in this film and makes it completely believable that all the men in this film are so preoccupied with her.

JOHNNY: “I hated her so I couldn’t get her out of my mind for a minute. She was in the air I breathed–and the food I ate.”

Glenn Ford as “Johnny” in Gilda (1946)
Gilda and Johnny at Carnival.

One of the highlights of Gilda is the annual Carnival celebration, which takes place during the summer in the Southern Hemisphere in February. Carnival is an annual celebration that takes place in Roman Catholic countries in the three days leading up to Lent. This celebration allows communities to dress in costumes, play music, eat delicious food and drink, and basically lose their inhibitions and deal with the consequences later. In the film, Gilda is celebrating her first Carnival. She dons a gaucho costume, complete with an eye mask. Johnny is much less festive, as he simply puts on an eye mask with his tuxedo. During Carnival, Gilda allows herself to let go of her contempt for Johnny and embrace her love of him. She becomes nostalgic for their former relationship and reminisces about dancing with him. Gilda dances closely with Johnny, completely losing herself in the moment. He remains standoffish towards her and refuses to get caught up in the spirit of Carnival. Johnny won’t throw caution to the wind and rekindle things with Gilda. He pushes her away when her passion starts getting too intense.

GILDA: “You’re out of practice aren’t you–dancing I mean. I can help you get in practice again, Johnny–dancing I mean.”

Rita Hayworth as “Gilda” in Gilda (1946)
Gilda with Ballin and Johnny

Ballin’s presence and influence looms in the background, both literally and figuratively. The Carnival celebration is both the turning point in the film and in Gilda and Johnny’s relationship. It reignites their formerly red-hot relationship, as well as confirms third-wheel Ballin’s suspicions that there is more to his wife and employee’s relationship than it seems. Ballin’s hunch is confirmed after he walks in on Gilda and Johnny kissing. Too bad he missed their first kiss. His anger over seeing his wife and employee smooching serves as the impetus for Ballin’s actions in the second and third acts of the film.

JOHNNY: “I thought we agreed that women and gambling didn’t mix.”
BALLIN: “My wife does not come under the category of women, Johnny.”

Glenn Ford as “Johnny” and George Macready as “Ballin” in Gilda (1946)

Gilda and Johnny’s intense love-hate relationship continues to heat up as the action shifts to Montevideo, Uruguay. By this point, Ballin is presumed dead after crashing his plane into the ocean. Johnny and Gilda marry. However, Johnny decides to use his marriage to Gilda as a means to punish her for supposedly betraying Ballin. Johnny conveniently seems to forget that he actually betrayed Ballin by hooking up with Gilda. He treats Gilda so cruelly, she escapes to Montevideo. To showcase Rita Hayworth’s dancing ability, Gilda gets a job as a singer and dancer at a nightclub. She performs a sexy song and dance number, wearing a gorgeous two-piece dress while crooning “Amado Mio.”

Gilda in her “Amado Mio” costume.

Later, to escape Johnny, Gilda returns to Buenos Aires and resumes her singing and dancing career. Fed up with Johnny’s treatment of her, Gilda decides to be the tramp he thinks she is. In the famous “Put the Blame on Mame” number, Gilda performs a one-glove striptease. Before she can unzip her strapless black dress, Johnny sends in his goon to stop Gilda and bring her to Johnny. Their love-hate relationship reaches its peak when Johnny slaps Gilda to punish her for her behavior. Gilda is distraught that the man she loves so intensely would hurt her.

GILDA: “Would it interest you to know how much I hate you, Johnny?”
JOHNNY: “Very much.”
GILDA: “I hate you so much that I would destroy myself to take you down with me.”

Rita Hayworth as “Gilda” and Glenn Ford as “Johnny” in Gilda (1946)
Gilda in her famous black dress

Gilda also features a plotline about Ballin being involved in a tungsten cartel with some Germans, but frankly, NOBODY cares about this plot point. Does anyone even remember the tungsten thing? No. Because this movie is all about Gilda and Johnny’s intense love-hate relationship. Are Gilda and Johnny truly in love with each other? I think they love each other, but for some reason, Johnny has some sort of issue with Gilda. Johnny’s dismissive attitude towards her causes Gilda intense hurt, leading her to torment him any way she can.

Despite being included on many “Best Film Noir Femme Fatale” lists, I don’t think Gilda is a femme fatale. In many ways, she’s the victim of this film–tormented by the two men in her life, Johnny and Ballin. Gilda’s intense love and subsequent hurt (caused by Johnny) drives her motivation to make Johnny jealous and unhappy. She wants him to feel what she feels. Johnny seemingly hates her for her actions, but his love for her motivates his jealousy. It’s a vicious cycle, one that Johnny and Gilda seemingly overcome at the somewhat contrived ending.

JOHNNY: “I want to go with you, Gilda. Please take me. I know I did everything wrong.
GILDA: “Isn’t it wonderful? Nobody has to apologize, because we were both stinkers, weren’t we? Isn’t it wonderful?”
JOHNNY: “Wonderful.”

Glenn Ford as “Johnny” and Rita Hayworth as “Gilda” in Gilda (1946)

Do we really think Johnny and Gilda will continue to be happy after the film ends?

Classic Movie Day Blogathon- 6 Films, 6 Decades

May 16th is upon us again. It’s National Classic Movie Day. Though honestly, I’m sure for many of us, EVERYDAY is National Classic Movie Day. For this year’s event, Classic Film and TV Cafe has asked us to list six favorite films, each from a different decade–starting with the 1920s through the 1970s. We were also given another option of the 1930s-1980s, but since my husband I have been trying to watch more silent films, I’m going to take the original challenge. To ease ourselves into silent films, we’ve started with the classic comedians–an obvious and easy jumping off point. Good comedy is universal and timeless. Since I’ve written about a lot of my favorite films over the years and have a tendency to be verbose and not wanting to bore everyone with yet another dissertation detailing my love for The Long Long Trailer, I’m going to try and change things up a bit by selecting some favorites that I don’t *think* I’ve talked about yet.

1920s- The Freshman (1925)

Starring: Harold Lloyd & Jobyna Ralston

Plot: Lloyd stars as “Harold Lamb,” an incoming freshman who is eager to begin his studies at Tate University. He has saved up quite a tidy sum, $485 ($7400 in 2021 dollars), to use as spending money while enrolled in college. While on the train, Harold meets Peggy (Ralston) and the two are smitten with one another. While at Tate, Harold decides that the best way to fit in is to emulate his favorite movie star, known as “The College Hero” in a series of films. Upon introducing himself to a potential friend, Harold performs The College Hero’s jig and adopting the nickname, “Speedy.” However, unbeknownst to Harold, his attempts to be cool and fit in make him the object of everyone’s jokes, especially the college bully. The students’ laughter makes Harold think that he’s fitting in and he’s unaware that he is the school laughing stock. His only true friend in the film is Peggy, his landlady’s daughter. Harold ends up trying out for the football team, but his obvious lack of athleticism does not impress the coach. The star football player, wanting to continue to make fun of Harold, convinces the coach to hire Harold as the waterboy, hereby making Harold think that he’s made the team. The star football player’s ruse may end up haunting him and the team later.

My Favorite Part: My favorite part of this film is when Harold is at the Fall Frolic in an unfinished suit. His tailor has all the pieces of the suit attached with some very loose stitches. Harold opts to wear the suit while the tailor hides behind a curtain, hoping to casually finishing sewing Harold’s suit. While Harold tries to partake in the Fall Frolic activities, his suit starts falling apart.


1930s- Alice Adams (1935)

Starring: Katharine Hepburn & Fred MacMurray

Plot: Hepburn stars as the titular Alice Adams, a young woman from the “wrong side of the tracks,” at least from Alice’s perception. In reality, there’s nothing wrong with the Adams’ home. It is a nice, clean home. It’s not fancy, but it’s functional and well-maintained. However, it is obvious that the Adamses are unhappy with their lot in life. Mr. Adams (Fred Stone) is an invalid and works as a clerk at Mr. Lamb’s (Charley Grapewin) glue factory. Mr. Lamb as been very nice and patient with Mr. Adams and his illness. However, Mrs. Adams (Ann Shoemaker) is frustrated with her husband’s lack of motivation or ambition to do anything to improve their financial situation. Alice’s brother, Walter (Frank Albertson), is a gambling addict and is unable to hold down a job. He also fraternizes with African-Americans, which at the time, was seen as unseemly (and embarrassing) behavior.

Alice is invited to a dance hosted by a wealthy peer of hers, Mildred Palmer (Evelyn Venable). Alice tries to put on airs, despite being escorted by her brother and carrying a bouquet of violets that she harvested outside. In an attempt to prove herself worthy of attending this party, she tries to impress her peers with haughty behavior and conversation, but they are not impressed and she is essentially shunned. While at the dance, she meets the wealthy Arthur Russell (MacMurray) who sees through her shtick but is nonetheless charmed. He makes it known that he wishes to see her more often and Alice, worried that he won’t be interested in her if he knew her true social standing (though he already does), tries to continue her charade.

My Favorite Part: The family dinner is hilarious and heartbreaking all at once. Alice invites Arthur to have dinner with her family. Alice hires a maid, Malena (Hattie McDaniel), to keep up the charade. Despite being blistering hot outside, the entire family dresses in formal attire. Alice plans this absurd (and very hot and heavy) meal made up of fancy delicacies, but Malena’s poor cooking skills are not up to par with the food Alice wants to serve. Malena provides the comic relief of the dinner with her unimpressed facial expressions and genuinely uncouth behavior. Poor Alice is collapsing emotionally with each and everything that goes wrong. Arthur, bless his heart, stoically carries on despite the disastrous evening.


1940s- Gilda (1946)

Starring: Rita Hayworth & Glenn Ford

Plot: Johnny Farrell (Ford) is an American gambler, newly arrived to Buenos Aires, Argentina. When the film opens, Johnny is hustling some gangsters outside during a game of craps. Johnny wins a large sum of money using loaded dice. When the gangsters discover Johnny’s ruse they are about to beat him up when Ballin Mundson (George Macready), a stranger, steps in and rescues Johnny. Ballin owns a fancy casino and brings Johnny there, but warns him not to cheat. However, once a cheater, always a cheater and Johnny is caught cheating at blackjack. After Ballin catches him cheating again, Johnny convinces him to give him a job and soon becomes the manager.

One day, Ballin comes back from a trip announcing that he’s taken a new wife, despite having only known her for a day. He takes Johnny to meet his new wife, Gilda (Hayworth), and Johnny is shocked. The smile on Gilda’s face quickly fades. It is obvious that these two know each other and have a past. What kind of past remains to be seen. Ballin assigns Johnny to be Gilda’s keeper of sorts. Gilda and Johnny have a very intense love/hate relationship. Gilda at one point says to Johnny: “I hate you so much, that I would destroy myself to take you down with me.” However, in spite of how much they say they hate each other, they’re also always about 5 minutes away from jumping into the sack with one another. To irritate Johnny and get his goat, Gilda begins cavorting with various men at all hours of the evening. Johnny has to keep intervening out of loyalty to Ballin. However, at some point, the tension between Gilda and Johnny begins to take over and they’re unable to contain themselves. Ballin observes his manager and wife’s lust for each other and takes matters into his own hands.

My Favorite Part: My absolute favorite part is Gilda’s floor-length sequin coat. But plot wise, the classic “Put the Blame on Mame” song is definitely a highlight. I also really love the scenes at Carnival. Gilda’s gaucho outfit is amazing.


1950s- His Kind of Woman (1951)

Starring: Robert Mitchum, Jane Russell, Vincent Price & Raymond Burr

Plot: Robert Mitchum plays Dan Millner, a professional gambler. At the beginning of the film, he is very much down on his luck. One night, after being ambushed by a group of thugs, he is brought to one of the more senior thugs and is offered a “too good to be true” job. For $50k, Dan has to spend a year in Mexico. Figuring that there’s got to be a catch, but also figuring that he has nothing to lose, Dan accepts a $5k advance and takes a chartered flight to the isolated Morro’s Lodge in Mexico. While on his flight, Dan meets Lenore Brent (Russell). Lenore very matter-of-factly tells Dan that she has a million dollars. Dan is attracted to her but disappointed to learn that she’s involved with another guest at the resort, famous actor Mark Cardigan (Price). While milling around the resort, Dan overhears two guests: Martin Kraft and a man by the name of Thompson (Jim “Thurston Howell III” Backus) discussing a plot that Dan suspects is related to the $50k he was offered. The two men give Dan $10k hush money and tell him that someone will be arriving soon to go over the plan with him.

Around the same time, an undercover agent from the United States Immigration and Naturalization Service shows up stating that underworld boss, Nick Ferraro (Raymond Burr) is scheming to try and get back into the US. Four years prior, he’d been deported to Italy. At this point, as far as I can tell, Ferraro is planning a “Face/Off” situation where he and Dan, supposedly of similar height and build, will literally switch faces. It seems that Martin Kraft is a plastic surgeon, who is armed with some sort of anesthesia that will allow him to perform the face switching procedure. At some point, Dan is kidnapped and under duress on Ferraro’s boat and it becomes up to Mark Cardigan to head an expedition to save Dan.

My Favorite Part: The entire scene involving Mark Cardigan heading up the rescue mission. Vincent Price’s hamminess makes the scene and it wouldn’t have been anywhere near as interesting or funny without Price. Price brings some much wanted levity to the film, especially while Robert Mitchum faces the idea of having to literally have his face ripped off and switched with Raymond Burr’s. I love the scene where Mark valiantly boards a small boat, only to have it sink immediately because it’s overloaded. I love the hilarious super long (and I imagine, heavy, especially water-logged) cape that he wears while he mans the (larger) rescue boat.


1960s- Girl Happy (1965)

Starring: Elvis Presley & Shelley Fabares

Plot: Elvis plays Rusty Wells, a nightclub singer (duh) who along with the other three members of his quartet have just ended their gig at a nightclub in Chicago. They plan to travel to Fort Lauderdale, Florida for Spring Break before moving onto their next job. However, the nightclub owner, “Big Frank,” messes up their plans when he extends their contract and they have to cancel their trip.

At the same time, Big Frank’s 18-year old college-aged daughter, Valerie (Fabares), is also planning on traveling to Fort Lauderdale for spring break. Despite his daughter’s legal adult status, Big Frank is terrified at the idea of letting his daughter travel so far away with just her friends in tow. Rusty sees his boss’ worry, and still wanting to go to Florida, comes up with the brilliant idea of offering to chaperone Valerie. Big Frank likes the idea and offers to bankroll Rusty and his friends’ trip. While in Fort Lauderdale, Rusty struggles with keeping an Italian playboy from lusting after Valerie and maintaining a semblance of a relationship with a “good time girl” (i.e. loose girl) Deena (Mary Ann Mobley). Rusty has to keep bailing on Deena when duty calls and she quickly grows tired of him. But because it’s an Elvis movie and he has to find himself in some sort of love triangle, Deena continues to maintain an interest in Rusty throughout the entire film.

And because this is an Elvis movie and because it’s a tried and true plot with one party being hired to chaperone or hang out with (or what have you) the other. You know that they’ll fall in love and you know that the person being chaperoned will find out. Despite the formulaic Elvis movies and plotlines, I still love it. His movies are fluffy, but they’re fun. And sometimes a fun movie is all that is needed.

My Favorite Part: I love the part when Elvis dresses up in Nina Talbot’s dress to escape from Officer Jackie Coogan’s jail. Elvis had dug a large hole and burrowed himself into the jail cell so that he could save Valerie and the other women.


1970s- The Muppet Movie (1979)

Starring: Kermit the Frog & Fozzie Bear

Plot: The film opens with all of the Muppets sitting together in an auditorium, waiting to watch their film. This film shows how all the Muppets met. We meet Kermit the Frog sitting in a boat in a pond, singing “Rainbow Connection” while strumming his banjo. A talent agent (Dom Deluise) who just happens to be at the same pond, hears Kermit’s song and says that he could be a Hollywood star. I mean obviously, it’s a singing frog playing the banjo! What more could anyone want? Kermit loves the idea of making millions of people happy and sets off for Hollywood. Along the way, he meets a terrible (but awesome) stand-up comedian, Fozzie Bear. Kermit invites Fozzie to Hollywood and the two set off in Fozzie’s Studebaker. This brings about my favorite quote from the film, “A frog and a bear, seeing America.”

Along the way, Kermit and Fozzie meet Dr. Teeth and the Electric Mayhem (which includes Animal), the band’s manager, Scooter, Gonzo and his girlfriend (Camilla the Chicken), Sweetums, Miss Piggy, Rowlf, Bunsen Honeydew, and Beaker. There are a million of celebrity cameos: James Coburn, Madeline Kahn, Telly Savalas, Milton Berle, Bob Hope, Steve Martin, Mel Brooks, Cloris Leachman, and perhaps the greatest cameo of them all… ORSON WELLES.

My Favorite Part: This entire film is hilarious. But I really love the part where Kermit the Frog and Miss Peggy go out for a romantic dinner. They are greeted by a snarky and rude waiter (Steve Martin) who wears shorty shorts, offers them a straw for their bottle-capped Idaho champagne (after offering to let them smell the bottlecap, of course).

Noirvember 2020

My “Noirvember” picks will be continually updated as the month wears on and I make my next choice!

Maxine Cooper & Ralph Meeker in Kiss Me Deadly (1955)

Noirvember is upon us. I love film noir, so every month is “Noirvember” for me, but I thought I’d try to actively participate in the event this year. Previously, I lurked in conversations and posts and read about it, but didn’t actually contribute.

For those who are unfamiliar with “Noirvember,” it is simply a portmanteau of the words “Noir” and “November.” It is a term used to describe what is essentially a month-long celebration of film noir. Noirvember was invented by a poster (@oldfilmsflicker on Twitter) who just wanted an excuse to catch-up on film noir. It has since evolved and become a full-fledged event.

I have seen a lot of film noir and have a lot of favorite films and performers. While I definitely want to revisit some old favorites, I also want to watch some “new to me” film noir. I don’t have a particular list of 30 film noir to watch, as I wanted my list to flow organically. However, so that I had some semblance of organization and didn’t spend my entire evening trying to decide what to watch, I’ve decided to play a game with my selections. Each successive film will feature a performer from the previous film. E.g. “The Big Heat” features Glenn Ford and Gloria Grahame. “Sudden Fear” features Grahame and Joan Crawford.

It is my hope that my final film of the month will link back to the first.

Barbara Stanwyck and Fred MacMurray conspicuously looking inconspicuous in the grocery store in Double Indemnity.

Click here to view my Noirvember Picks!