I never lose. Never really.
Le Samouraï (1967)
I really, really want to see this. I can put it next to Taxi Driver, Get Carter, and Drive in my box of gritty movies about weird loners.
(via filmnoirandfemmefatales)
The most remarkable thing about coming home to you is the feeling of being in motion again. It's the most extraordinary thing in the world.
Why am I the Arkadelphian? Ask me anything (provided what you're asking isn't lame).
Why am I the Arkadelphian? Ask me anything (provided what you're asking isn't lame).
November 27, 2012
November 3, 2012
A Femme Fatale is a mysterious and seductive woman. Whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations.
Those top three .gifs are as good as it ever got.
(Source: missavagardner, via oldfilmsflicker)
November 1, 2012
"Here’s what film noir is to me: it’s a righteous, generically American film movement that went from 1945 to 1958 and exposited one great theme. And that theme is, you’re fucked."
— James Ellroy (via deadwomenownme)
(via filmnoirandfemmefatales)
September 23, 2012
June 20, 2012
April 12, 2012
April 8, 2012
Watch the opening credits to Taxi Driver, and pay attention to Bernard Herrmann’s score. It’s one of the finest examples of a leitmotif I can think of in film noir, juxtaposing the cool, bluesy beauty of the world Travis Bickle thinks he inhabits with the post-traumatic sturm und drang that really drives him. It’s the central conflict of the movie, outlined in just two minutes.
These gifs show the same thoughtfulness in Scorsese’s direction. Like these images—especially the one where the side mirror seems to melt—the movie constantly teeters on the line between fantasia and bitter reality. In the end you’re left wondering, as with Lear, at how madness might be a kind of nightmare, or just a soothing dream.
(Source: tom-hardying, via oldfilmsflicker)
March 14, 2012
Blade Runner by 3ftdeep
March 9, 2012
“Forget it Jake, it’s Chinatown.”
1974 - Roman Polanski
December 22, 2011
Figure 1.1: Why the addition of a romantic subplot to the film adaptation of The Big Sleep wasn’t a bad thing.
(via f0nzarelli)
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