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Summary The neo-noir genre surged in popularity during the 1980s as countless acclaimed directors paid homage to movie aesthetics of the past while imbuing their films with something new. As a revival of film noir, noe-noirs took on the characteristics and style of gritty 1940s detective stories to depict modern crime dramas, psychological thrillers, and, in some cases, comedies.
However, looking back on Blue City today revealed an interesting adaptation of the original novel by Ross Macdonald. With a storyline shift and casting choices that meant Blue City would appeal more to teen audiences rather than lovers of the original thriller book, it’s understandable that it was underrated during its time. But revisiting Blue City, there was a lot to enjoy from its fast-paced storyline, music by Ry Cooder, and some strong performances throughout.
8 Dead Men Don't Wear Plaid Directed by Carl Reiner Dead Men Don’t Wear Plaid was a clever comedy that simultaneously made fun of and paid tribute to the film noir styles made famous during the 1940s. With Steve Martin as the private investigator Rigby Reardon, Dead Men Don’t Wear Plaid incorporated clips from 19 other films to have Martin interact with classic film stars of the era, such as Humphrey Bogart and Bette Davis.
With a strong use of color and tints, as well as Mann’s signature utilization of the color blue, Manhunter effectively used its palette to indicate mood throughout this fascinating neo-noir thriller. While Manhunter was criticized upon release for being overly stylish, looking back on the film today was part of its appeal. Although Brian Cox’s portrayal of Dr. Lecter can’t quite live up to Anthony Hopkins’ iconic performance, the film has since gained a cult following.
Director Alan Parker Release Date March 6, 1987 Writers Alan Parker Cast Robert De Niro , Lisa Bonet , Stocker Fontelieu , Charlotte Rampling , Mickey Rourke Runtime 113 minutes Budget $17 million Expand While it’s not easy to combine the neo-noir, thriller, horror, and murder mystery genres into one film, this was exactly what Alan Park pulled off with Angel Heart.
Part of the appeal of After Hours was its overwhelming paranoia as Paul fell ever deeper into a nighttime conspiracy characterized by frantic energy and unpredictability. As one of the most overlooked entries in Scorsese’s vast filmography, it was also among his most original and idiosyncratic.
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