Cheap Film Noir Reader 3: Interviews With Filmmakers of the Classic Noir Period (Film Noir Reader) (Book) (Alain Silver, James Ursini, Robert Porfirio) Price

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Notes
Just a couple of points to add to Dr. Schwartz's fine review of all three Film Noir entries. The price of this reader is...hefty .... Considering what you get in return, only confirmed enthusiasts should pony up that amount. A big point in the book's favor: an interview with screenwriter Daniel Mainwaring, aka Geoffrey Homes, (Out of the Past, Invasion of Body Snatchers,et.al.), a major influence on the genre, and the only interview with this neglected figure that I know of. Lastly, it's remarkable how many of these artists were unaware of contributing to a distinct body of work we now call film noir. Perhaps the zeitgeist of the time wore a trenchcoat; certainly something generic was afoot.

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Spiraling Down the Noir Trail
If you are a "noir addict," as I am, you are indeed fortunate to have read the original FILM NOIR READER, its sequel, FILM NOIR READER 2 and the last one in the series...FILM NOIR READER 3.
The first one was the most interesting of the group, containing the most seminal essays on the noir style by Durgnat, Higham, Porfirio and Schrader and even a translation from Borde & Chaumenton's French framing of the "noir mystique." Also, several noir films were considered in a "case study" section, among them KISS ME DEADLY, NIGHT & THE CITY, ANGEL FACE and the post-noir LONG GOODBYE. The last section of Volume One dealt with "Noir, Then and Now" with several interesting articles on noir's legacy and the new noir. It was a sensational critical work after Silver & Ward's trend-setting volume FILM NOIR, now in its third edition from Overlook Press.
FILM NOIR 2, in the Limelight series carries on the tradition of including seminal essays on noir by Nino Frank, the film critic who actually named the style, Jean-Pierre Chartier and Claude Chabrol, among other worthy and perceptive American
critics such as Tom Flinn and Stephen Farber. Reverting to the case history approach, Robert Porfirio, Robin Wood, Silver and Ward, among others scrutinize critically the films of Hitchcock,
the femme fatales of PUSHOVER (Kim Novak) & THELMA JORDON (Barbara Stanwyck)among other themes as "jazz & noir," "tabloid cinema" and "neo-noir fugitives," all wonderful essays written with style and critical acumen. Part 3 of this volume seems to suggest this would be the last in the series, discussing the "evolution" of noir, especially essays on the "new noir," and especially Kent Minturn's excellent article on "abstract expressionism and film noir, demonstrating the effects of Jackson Pollack's paintings on the noir style.
FILM NOIR READER 3 must be the absolute last in the series because it focus is on mainly interviews with filmmakers of the classic noir period. Divided into 3 sections, it deals with 8 directors such as Andre de Toth, Fritz Lang, Billy Wilder, Robert Wise among others, filmmakers such as photographers James Wong Howe and John F. Seitz, actors such as Claire Trevor and Lizabeth Scott, composers such as Miklos Rozsa and finally a series of commentaries about noir by Curtis Bernhardt, Budd Boetticher and Daniel Fuchs.
Of the director section, all were fairly interesting interviews by Alain Silver or Robert Porfirio with the exception of Otto Preminger who seemed to defy the questions put to him and did not care to be labelled a "noir" director. Of the actors, I enjoyed Claire Trevor's appraisal of her roles and Lizabeth Scott's method of transforming herself psychologically into a "femme fatale." But the commentaries section of this interview book really runs out of steam with Daniel Fuchs' perception of Jews, Gentiles and Communists in Hollywood as well as the take of his own words on THE GANGSTER with Barry Sullivan.
He even complains as he writes answers to Porfirio's questions, while admiring the critic, he feels "it pains him his own prose is so lousy."
While this third volume is chock full of wonderful stills
from classic films of the period, sometimes the stills have absolutely nothing to do with the text...worse, there are serious flaws in editing that mar the book...on p. 60 Anne Bancroft is referred to in THE BLUE GARDENIA while on the next page it is Anne BAXTER, the real star of the film is seen in a still with Ann Sothern; the still facing p. 135 identifies Ray Teal as the actor in the foreground with Orson Welles on the stairs in CITIZEN KANE while it is actually RUSSELL COLLINS and more blatantly, in the still on p.141 from BODY AND SOUL, how can any one mistake B-actress HAZEL BROOKS seen here with John Garfield for the beautiful and classy Lili Palmer identified in the caption.
Finally, I believe FILM NOIR READER 3 is a worthy entry in the series for its preservation of information and stills about noir although the interviewers seemed to have scraped rock bottom to put this volume together. Perhaps they should turn their attentions to the new noir. However, I must commend the publisher, Limelight, for continuing the series and bringing about an affordable paperback with such gorgeous stills that are alone worth the ... price. And some of the interviews are really excellent--the ones with Billy Wilder, Miklos Rozsa and James Wong Howe among others. But it is difficult to take such diverse views on noir and give them a unique, systematic frame of reference because of the very complexity in the material and the divergent views among the authors. I simply cannot imagine how far down "the noir trail" we can go without stumbling in the future. Volumes 1 and 2 are certainly superior to this last one, but Vol. 3 gives me a sense of closure regarding the material, but not the "noir style." For as long as there are men deceived by women for cash or sex, noir will go on forever.