Crime stories by Cornell Woolrich, The Guilty, and Raoul Whitfield, High Tide, are masterfully adapted by director John Reinhardt in two restored film noirs.
Restored pre-code films William Beaudine’s ‘The Crime of the Century’ and Charles Vidor’s ‘Double Door’ thrill with their frightening fearlessness.
Albert S. Rogell’s 1930 Technicolor film Mamba offers a colonial critique that’s sometimes explicit, sometimes implicit, and sometimes contradictory.
While murder and crime certainly run deep in Claude Chabrol’s world of subterfuge, the dark desires of human nature that provoke them run immeasurably deeper.
Silent films have a way of burrowing their stories into your mind and taking root. With this preview of the San Francisco Silent Film Festival 2022, let us plant a few seeds.
Robert Siodmak’s reverse immigration film, Deported, and drama about capital and labor, The Whistle at Eaton Falls, were the last he’d make for Hollywood.
Márta Mészáros’ film Adoption is empathetic and beady-eyed about the negotiations and indignities of those caught up in social prejudices, especially women.
Restored 1936 Technicolor film Dancing Pirate crosses the early talkies’ vogue for absurd musicals with its other vogue for Hollywood Mexicana.
German director Robert Siodmak‘s 1930 comedy Farewell is a far cry from 1957’s Nazi-influenced crime thriller, The Devil Strikes at Night.
Silent film star Louise Brooks’ first role was that of a “moll”, an uncredited bit part in the evocatively titled The Street of Forgotten Men.