As you probably have already guessed about me and my tastes in film and art, I have an intense love of classic film noir as a movie genre, and I have an affinity for the pulp readers published during the golden era. The cover illustrations, produced by many extremely talented artists, were almost always provocative.
The illustrations shown above appeared on both the original and reprinted publications as book covers for this novel (It’s a good read, by the way; a gritty noir PI story.)
The first is by an artist/photographer(?) unknown to me. The second, a re-release, was done by illustrator Rudy Nappi, a favorite of mine from that steamy and sexy era of pulp.
Since posting a reference clip to the noir classic “Out of the Past” (1947) earlier, I’ve been in a Greer frame of mind. Here are a few images of Jane Greer—some promo shots, some actual scenes—centered around the release of that dark noir masterpiece.
For me, the above-featured Fleming clip constitutes a most memorable exhale and one of the most overall erotically teasing smoking moments I can think of. It, along with many film moments like it, was an early contributor to the development of my obsession/fetish/lust. I distinctly remember—when at a tender age, laying on the rug in the living room of my parents’ house in front of the 13-inch TV tube console—feeling “funny” while viewing this scene for the first time, flickering across that screen. Yes, that little thing, a defining moment; the heat I felt was undeniable.
NOTE: And by the way, “Out of the Past” is one of the best hard-boiled detective, but nonetheless, sensuous film noir offerings in American cinema! The acting is superb, the characters are thoroughly fleshed out, and the dialogue crackles—it is so well written! I cannot recommend seeing this more fervently! Stream it soon!
“Out of the Past” film was based on the pulp fiction novel “Build My Gallows High” (1946)—Writer: Geoffrey Homes (pseudonym of Daniel Mainwaring).Although officially credited for the screenplay, his draft was treated to rewrites by Frank Fenton, and, one of my personal favorite pulp noir writers, James M. Cain (of “The Postman Always Rings Twice”, “Double Indemnity”, and “Mildred Pierce” fame.)
Looking for the novel will be a letdown. It is rare. From the copies that are available, prices are prohibitive.
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A bonus provocative Fleming exhale from another film!
Oh, my word! “Help me Rhonda…help, help me, Rhonda!”
I just started watching the very dark, neo-noir-intense-UK-based “police drama” titled “The Vice”: an older series which ran on ITV from 1999 through 2003.
Instead of critiquing it, and/or getting into a deep dive review of its intricacies, I’m opting to skip right to recommending that you seek it out and watch these brooding, true noir episodes unfold.
“True noir?” you may ask. Oh yes! There are no happy endings to any of the episodic events, no comforting resolves or wrap-ups. Only fatalistic hardcore noir with brief pauses in the intensity as you walk from one shadowy ending, around an unlit corner, and stride right into another dark beginning.
The main cast is headed,*at first, by Ken Stott, and (mostly) revolves around the exploits, trials and tribulations of his character “Inspector Pat Chappel”— a somewhat gruff, frumpy type who heads the vice division within MPS of London; a savvy, compassionate copper whose character is fraught with flaws and “issues” developed through a checkered past. In my mind, Chappel is a character Dashiell Hammett would have dreamed up; in many ways—not all, but some—he’s a man right out of the Continental Op mold.
And, of course, there’s “P.C. Cheryl Hutchins,” one of Inspector Chappel’s underlings, played deftly by the subject of this blog entry, Caroline Catz. You will not be able to look away while you watch Caroline’s brilliant portrayal of her ever-evolving character as she moves from scene to scene.
Everyone is phenomenal in this series—the writers, directors, techs, and other actors; I would be remiss if I didn’t mention the powerful screen presence of David Harewood who is simply wonderful as “Sergeant/Inspector Joe Robinson“—and Catz is no exception! Most notably, her performance in the episode “Hooked” is both riveting and unsettling! No. There will be no spoilers here. I won’t go into any more detail.
And, what kind of a smoking fetish blog post would this be if I didn’t direct your attention to that aspect of this series; hmm? Well, there are numerous breathtaking “moments” peppering this series, one of which can be seen in a gif file just a scroll or two below!
As further incentive, I can tell you that not only are there scenes of Catz blowing off an occasional **“fag”(**no USA readers; I’m not being homophobic! It is an old Brit slang term for cigarette), but there are several other beautiful characters who partake here-and-there, as well.
(One spoiler)The main cast line-up changes somewhat in the middle of the series’ lifespan.
UPDATE(As of July 16, 2022): The series has been picked up by Britbox and is currently streaming to subscribers.
Anne Francis — September 16, 1930 – January 2, 2011
From the short-lived television series “Honey West” (1965-1966). Francis’ obvious seductively beautiful features aside, “Honey West” is most notable for being the first television show which bore the title of a female detective character’s name.
The incomparably-enticing Lee Remick—bruised, but still enticing.
The GIF file and the three photos above it are from the ground-breaking 1959 release of director Otto Preminger’s “Anatomy of a Murder.”
Remick turns in a stellar, sensuality-laced portrayal of Laura Manion, a sexy, free-spirited young married woman who becomes the victim of an apparent violent rape. Her husband, Lieutenant Frederick Manion(”Manny”), a career military man played by Ben Gazzara, exacts revenge by killing her rapist. Those elements alone would be the basis of an interesting tale. However, ambiguity swirls around within the storyline, laying the seeds of doubt as to the veracity of Laura’s and Manny’s characters throughout this brilliantly conceived screenplay; all of which makes for an even more taut drama.
The film begins within the aftermath of the rape and murder, weaving the story concerning the details of the events through the ensuing courtroom trial where Lt. Manion is defended by his lawyer, Paul Biegler, portrayed by the versatile James Stewart. George C. Scott, Eve Arden, and Author O’Connell, among others, also give fine performances, as well.
Parenthetically, but most notably—and an extremely fascinating fact, as well—through a stroke of casting genius (thanks in part to a suggestion made by Spencer Tracy’s assistant), Preminger called on real-life counselor/lawyer Joseph N. Welch to play the role of the trial judge. In US history, Welch constitutes a significant footnote within the evolution of the American saga.
Along with other important events, of course—in part,I am referring to the role Edward R. Murrow played in challenging the legitimacy of McCarthy’s reign of terror, not to mention the eventual senatorial censure in 1954—it was partly due to Welch’s conduct in his role as chief counsel for the US Army during the “Army-McCarthy hearings” which helped in deflating the demagogic, gasbag Republican senator from Wisconsin, Joseph McCarthy, while going far in at least beginning to perpetuate a conclusion to the dark, right-wing nightmare that was “McCarthyism.”
Opposition to Joseph McCarthy and what he represented made its way into pop culture. Here, artist Walt Kelly lampooned McCarthy by introducing the character “Simple J. Malarkey” to audiences through his wildly popular comic strip “Pogo” in 1953.
Among the important factors that make this movie significant surrounds its sensitive subject matter—its then-deemed ‘bold’ sexual language (the existence of which motivated a legal ruling that temporarily banned its showing in Chicago), and the sexually-repressive time frame within which it was released.
But mostly, in my opinion, it represented an early and brave, in-the-face, direct challenge to The Motion Picture Production Code, better known as the “Hays Code”—a set of “moral” conduct production “standards/guidelines”—concocted by prominent Christian religious figures at the time, then presented to, adopted and dictated by the industry’s trade association called the Motion Picture Producers and Distributors of America (MPPDA), whose president was Will H. Hays, a former chairman of the Republican National Committee (RNC), as a self-regulating censoring tool.
Also, as a musician, I would be remiss if I didn’t mention the fact that this film prominently features a phenomenal soundtrack; its music was brilliantly scored and performed by one of my all-time favorites, jazz legend Duke Ellington (who, incidentally, appears in a brief-but-memorable scene)! The high trumpet note hit at the very end of the film is one for the record books!
Oh, and by the way; “Anatomy of a Murder” is the only place where you get to hear brilliant, sometimes-comedic character actor Howard McNear—most popularly known to US audiences for his role as the gossipy, breathy-voiced, vague-and-somewhat-slow-witted, “Floyd Lawson,” proprietor of Mayberry’s local barber shop on the mostly squeaky-clean 1960s TV series “The Andy Griffith Show“—who, while playing a witnessing doctor taking the stand in one of the courtroom scenes, utters the sentence; “They wanted me to make a test for the presence of sperm…on the person of a Mrs. Frederick Manion…” ツ
German designers obviously thought so highly of Ava that they gave her top billing on this poster. Unless of course, they were listing in alphabetical order.
Where do I begin suggesting Ava Gardner films? Since I hold a strong preference for the stylistic movie-making genre of film noir, especially those shadowy, fatalistic films produced in Hollywood during the golden era in the 1940s, I guess I’ll focus my selective eye there.
So, in my opinion, an excellent start for Gardner films would be the taut, suspenseful, plot-heavy crime drama noir “The Killers” released in 1946. As a tense pot-boiler, to me this tenebrous film represents everything a meaty film noir motion picture should be, including the essential fatalistic ending. As a point in fact, you actually get to see one of many grim endings play out within the first 20 minutes of the film. If you’re wondering what I meant by the phrase “one of many,” I suggest that you view this magnificent film.
This scene depicts the moments before “The Swede” takes the “big sleep.”
Insofar as I’m concerned, you can’t go wrong with this pick! Its dark, weaving plot is based on an Ernest Hemingway story; a tale which is further improved upon with an excellent screenplay officially credited to Anthony Veiller, but was co-written, along with Richard Brooks, by the great John Huston (uncredited). The thing which makes this screenplay unique is its pace. It parts from traditional narrative structure via the use of a series of flashbacks while communicating information in bits and pieces to audiences gleaned through an ongoing investigation of facts.
Add to this mix of talent vivid black and white cinematography (Elwood “Woody” Bredell ), flawless editing (Arthur Hilton), adept direction by Robert Siodmak, a great soundtrack by composer Miklós Rózsa—the musical theme will be one I’m sure you’ll recognize…its iconic underpinning phrasing was used in the “Dragnet” radio series in the late 1940s through the 1950s, as well as the TV series during the late 1960s starring Jack Webb and Harry Morgan—and there, on the screen you have it; extraordinary movie-making art. Throw in fabulous acting performances by Burt Lancaster, Edmond O’Brien, William Conrad, AND of course, Ava Gardner, and you get film noir at its finest!
Incidentally, Ava’s stunning beauty and sensuality will absolutely overload your senses!
Momma Mary and Joe! *pant!*…
*ahem*…Sorry. My libido went into overdrive.
Oh well, here’s a final gif image; one that’s not in the movie, but well worth posting!
The incredibly sexy Martha Vickers portraying the neurotic, drugged-up “Carmen Sternwood” in a scene from another one of my all-time favorite dark and fatalistic film noir classics “The Big Sleep”(1946). That’s Humphrey Bogart trying to shake her back into sober existence. He fails, by the way. But it makes for a sexy scene. …Geeze! That look she gives him after the grasping shoulder shake! ツ
I highly recommend this one! Directed by the great Howard Hawks, it is based on a novel by Raymond Chandler, and the plot has more twists and turns in it than a Bavarian pretzel, so pay strict attention!
…AND, by the way, this film also has Lauren Bacall in it, as well!! 💓
A 19-year old woman's experiences of dealing with a deep, sexually rooted fascination of cigarette smoking while trying to maintain her squeaky clean image & reputation.
![Emphatic-LEE! Lee Remick "Anatomy of a Murder" [1959]](https://i0.wp.com/georgetyerbyter.wordpress.com/wp-content/uploads/2018/07/003.jpg?w=272&h=175&ssl=1 "Emphatic-LEE! Lee Remick \"Anatomy of a Murder\" [1959]")
![Definite-LEE! Lee Remick in repose "Anatomy of a Murder" [1959]](https://i0.wp.com/georgetyerbyter.wordpress.com/wp-content/uploads/2018/07/screen-shot-2011-04-14-at-1-46-38-am.png?w=272&h=170&ssl=1 "Definite-LEE! Lee Remick in repose \"Anatomy of a Murder\" [1959]")
Smoking Fetish Notebook 