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Dillinger Is Dead Trailer (1969) – The Criterion Collection

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Dillinger Is Dead (Italian: Dillinger è morto) is a 1969 Italian drama directed by Marco Ferreri. It stars Michel Piccoli, Anita Pallenberg and Annie Girardot. The story is a darkly satiric blend of fantasy and reality. It follows a bored, alienated man over the course of one night in his home. The title comes from a newspaper headline featured in the film which proclaims the death of the real life American gangster John Dillinger.

The film proved controversial on its initial release for its subject matter and violence but is now generally regarded as Ferreri’s masterpiece. It was acclaimed by the influential French film magazine Cahiers du cinéma and afterwards Ferreri worked and lived in Paris for many years. Since the mid-1980s the film has been screened only very rarely.

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Plot

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Glauco, a middle-aged industrial designer of gas masks, is growing tired of his occupation. Having discussed alienation with a colleague at the factory, he returns home. His wife is in bed with a headache but has left him dinner, which has become cold. He is dissatisfied with the food and begins preparing himself a gourmet meal.

While collecting ingredients he discovers an old revolver wrapped in a 1934 newspaper with the headline “Dillinger is dead” and an account of the famous American gangster’s death. Glauco cleans and restores the gun while continuing to cook his dinner, then paints it red with white polka dots.

He also eats his meal, watches some television and projected home movies, listens to music and seduces their maid. With the gun he enacts suicide a number of times. At dawn he shoots his wife thrice in the head as she sleeps. Then he drives to the seaside where he gets a job as a chef on a yacht bound for Tahiti.

Themes

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The film, and especially its surreal finale in which the character Glauco leaves home and finds a job on a yacht, has been interpreted variously. Author Fabio Vighi approached it from a psychoanalytical standpoint, suggesting the uxoricide is an attempt to “kill” something inside himself. Glauco repeatedly stages his own suicide throughout the film. The final murder, then, is a means to escape his life by eliminating the primary link to his bourgeois lifestyle, which he would otherwise be unable to leave.[1]

Writer Mira Liehm posits director Marco Ferreri followed in the style of the Theatre of the Absurd and did not apply psychology or logic to his characters but then placed his absurdist creations in a real world context. The home with its many luxuries, such as the gourmet dining and film projector, as well as the cleaning and decoration of the gun, are meaningless diversions which trap Glauco in a metaphorical prison and suffocate him. His isolation leads to death or an “illusionary escape.”[2] As Italian film historian Paolo Bertetto explained, “The escape to Tahiti means a total closure of all horizons, the paralysis of all possibilities; we are brought down to zero, stripped of all perspectives, and restored to the original nothingness.”[2]

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Cast

  • Michel Piccoli as Glauco: a middle-age designer of protective masks which allow people to breathe under inhospitable conditions. Isolated, ennuyed and insomniac, he searches his house for diversion. Piccoli viewed the role as that of an “eternal child or this childlike rebirth of ‘mature’ man, between despair, suicide, simple insomnia, dream.”[3]
  • Anita Pallenberg as the wife
  • Annie Girardot as the maid

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Production

Director Marco Ferreri first met leading man Michel Piccoli when he visited the actor on the set of Alain Cavalier‘s La Chamade (1968).

Ferreri had Piccoli read a few pages from Dillinger Is Dead and hired him immediately. Piccoli has said Ferreri did not direct his performance and only gave simple blocking instructions. He played the character as solitary and volatile, comparing it to his role in Agnès Varda‘s The Creatures (1966).

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Release and reception

The film was entered into the 1969 Cannes Film Festival.[4] Dillinger Is Dead was the subject of controversy on its release for its violence and depiction of the parvenu set.[3] Critics have also called it director Marco Ferreri’s masterpiece.[2]

The influential French film magazine Cahiers du Cinéma praised the film, interviewed the director and translated two of his previous interviews from the Italian magazine Cinema & Film. The acclaim opened the resources of Paris to Ferreri and he spent much of the next 15 years living there.

During that time he made his internationally best known films, including The Last Woman (1976) and Bye Bye Monkey (1978). Ferreri and Michel Piccoli became fast friends and worked together subsequently on films such as The Last Woman and La Grande Bouffe (1973).[5]

According to critic Viano Maurizio, by the mid-1980s Reaganomics‘ effect on the film market resulted in Dillinger’s near disappearance and it has been rarely seen since.[5] It appeared in the 2006 Marco Ferreri Retrospective in London.[6][7] A new print was provided by The Criterion Collection for the 2007 Telluride Film Festival.[8] It premiered on Turner Classic Movies in America on June 26, 2016.[9]

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References

  1. Jump up^ Vighi, Fabio (2006). “Enjoying the Real: unconscious strategies of subversion”. Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious. Intellect Books. p. 67. ISBN 978-1-84150-140-6.
  2. ^ Jump up to:a b c Liehm, Mira (March 1986). “The Glorious Sixties (1961 – 1969)”. Passion and Defiance: Italian Film from 1942 to the Present. University of California Press. pp. 206–207. ISBN 0-520-05744-9.
  3. ^ Jump up to:a b Béghin, Cyril (November 2005). “The Actor and the Secret: Interview with Michel Piccoli”. Sally Shafto (trans). Cahiers du cinéma. Retrieved 2007-09-09.
  4. Jump up^ “Festival de Cannes: Dillinger Is Dead”. festival-cannes.com. Archived from the original on 2012-03-08. Retrieved 2009-04-05.
  5. ^ Jump up to:a b Viano, Maurizio (2004). “La Grande Abbuffata / La Grande Bouffe”. In Giorgio Bertellini. The Cinema of Italy. Wallflower Press. p. 195. ISBN 1-903364-98-1.
  6. Jump up^ “Marco Ferreri Retrospective” (PDF). Ciné Lumière. November 2006. Retrieved 2007-09-08.[permanent dead link]
  7. Jump up^ “Marco Ferreri”. Vertigo Magazine. 2006. Retrieved 2007-09-08.
  8. Jump up^ Kramer, Edith (2007). “32: Dillinger Is Dead” (PDF). 34th Telluride Film Festival. Telluride Film Festival. p. 20. Archived from the original (PDF) on 2007-10-09. Retrieved 2007-09-08.
  9. Jump up^ TCM Forum, Accessed July 6, 2016

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Vivre Sa Vie Trailer (1962) – The Criterion Collection

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My Life to Live (French: Vivre sa vie : film en douze tableaux; To Live Her Life: A Film in Twelve Scenes) is a 1962 French drama film directed by Jean-Luc Godard. It was released as My Life to Live in North America and as It’s My Life in United Kingdom. The DVD releases use the original French title.

Plot

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Nana (Anna Karina), a beautiful Parisian in her early twenties, leaves her husband and infant son hoping to become an actress. Without money, beyond what she earns as a shopgirl, and unable to enter acting, she elects to earn better money as a prostitute.

Soon she has a pimp, Raoul, who after an unspecified period agrees to sell Nana to another pimp. During the exchange the pimps argue and Nana is killed in a gun battle. Nana’s short life on film is told in 12 brief episodes each preceded by a written intertitle.

Cast

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Production

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The film was shot over the course of four weeks for $40,000.[1][2]

Style

In Vivre sa vie, Godard borrowed the aesthetics of the cinéma vérité approach to documentary film-making that was then becoming fashionable.

However, this film differed from other films of the French New Wave by being photographed with a heavy Mitchell camera, as opposed to the light weight cameras used for earlier films.[citation needed] The cinematographer was Raoul Coutard, a frequent collaborator of Godard.

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Influences

One of the film’s original sources is a study of contemporary prostitution, Où en est la prostitution by Marcel Sacotte, an examining magistrate.

Vivre sa vie was released shortly after Cahiers du cinéma (the film magazine for which Godard occasionally wrote) published an issue devoted to Bertolt Brecht and his theory of ‘epic theatre‘.

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Godard may have been influenced by it, as Vivre sa vie uses several alienation effects: twelve intertitles appear before the film’s ‘chapters’ explaining what will happen next; jump cuts disrupt the editing flow; characters are shot from behind when they are talking; they are strongly backlit; they talk directly to the camera; the statistical results derived from official questionnaires are given in a voice-over; and so on.

The film also draws from the writings of Montaigne, Baudelaire, Zola and Edgar Allan Poe, to the cinema of Robert Bresson, Jean Renoir and Carl Dreyer.[citation needed] And Jean Douchet, the French critic, has written that Godard’s film “would have been impossible without Street of Shame, Kenji Mizoguchi‘s last and most sublime film.”[3]

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Nana gets into an earnest discussion with a philosopher (played by Brice Parain, Godard’s former philosophy tutor), about the limits of speech and written language. In the next scene, as if to illustrate this point, the sound track ceases and the images are overlaid by Godard’s personal narration. This formal playfulness is typical of the way in which the director was working with sound and vision during this period.[citation needed]

The film depicts the consumerist culture of Godard’s Paris; a shiny new world of cinemas, coffee bars, neon-lit pool halls, pop records, photographs, wall posters, pin-ups, pinball machines, juke boxes, foreign cars, the latest hairstyles, typewriters, advertising, gangsters and Americana.

It also features allusions to popular culture; for example, the scene where a melancholy young man walks into a cafe, puts on a juke box disc, and then sits down to listen. The unnamed actor is in fact the well known singer-songwriter Jean Ferrat, who is performing his own hit tune “Ma Môme” on the track that he has just selected.

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Nana’s bobbed haircut replicates that made famous by Louise Brooks in the 1928 film Pandora’s Box, where the doomed heroine also falls into a life of prostitution and violent death. In one sequence we are shown a queue outside a Paris cinema waiting to see Jules et Jim, the new wave film directed by François Truffaut, at the time both a close friend and sometime rival of Godard.

The film was remade as She Lives Her Life in 2014 by director Mark Thimijan.

Reception

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The film was the fourth most popular movie at the French box office in its year of release.[1]

Critical response

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Vivre sa Vie enjoys an extremely positive critical reputation. Author and cultural critic Susan Sontag described it as “a perfect film” and “one of the most extraordinary, beautiful, and original works of art that I know of.”[4] According to critic Roger Ebert in his essay on the film in the book The Great Movies, “The effect of the film is astonishing. It is clear, astringent, unsentimental, abrupt.”[5]

References

  1. ^ Jump up to:a b c Archer, Eugene (27 Sep 1964). “France’s Far Out Filmmaker”. New York Times. p. X11.
  2. Jump up^ Sterritt, David (1999). The Films of Jean-Luc Godard: Seeing the Invisible. Cambridge University Press. Retrieved 1 March 2017.
  3. Jump up^ Jean Douchet “French New Wave” ISBN 1-56466-057-5
  4. Jump up^ Susan Sontag, On Godard’s Vivre sa vie, Moviegoer, no. 2, Summer/Autumn 1964, p. 9.
  5. Jump up^ “Roger Ebert, “Great Movies” – Vivre sa Vie/My Life to Live”. Rogerebert.suntimes.com. 2001-04-01. Retrieved 2012-02-06.

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Further reading

  • Colin MacCabe (2004) Godard: A Portrait of the Artist at Seventy, Farrar, Straus and Giroux, ISBN 0-374-16378-2.

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Lola Montes Trailer (1955) – The Criterion Collection

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Lola Montès (1955) is an epic historical romance film and the last completed film of German-born director Max Ophüls. It is based on the life of the celebrated Irish dancer and courtesan Lola Montez (1821–1861), portrayed by Martine Carol, and tells the story of the most famous of her many notorious affairs, those with Franz Liszt and Ludwig I of Bavaria.

A French production, the dialogue is mostly in French and German, with a few English language sequences. The most expensive European film produced up to its time, Lola Montès flopped at the box office.

It had an important artistic influence, however, on the French New Wave cinema movement and continues to have many distinguished critical admirers. Heavily re-edited (multiple times) and shortened after its initial release for commercial reasons, it has been twice restored (1968, 2008). It was released on DVD and Blu-ray in North America by The Criterion Collection in February 2010.

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Plot summary

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In the mid-19th-century, Lola Montès (Martine Carol) is a famous, past-her-prime dancer and courtesan who has led an eventful and highly scandalous life. (She supposedly holds a world record for number of lovers.)

She is now reduced to performing in a New Orleans circus, where an impresario/ringmaster (Peter Ustinov) has both befriended and exploited her by making her the central attraction. In the course of a single circus performance — which dramatically reenacts Lola’s life and career — flashbacks reveal, first, her affair with composer Franz Liszt (Will Quadflieg); second, her unhappy youth and marriage to her own mother’s boyfriend, Lt. Thomas James (Ivan Desny); and then her scandalous public breakup with conductor Claudio Pirotto (Claude Pinoteau).

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Along the way, her career as a dancer and “actress” has its ups and downs and she initially rejects the career advances of a younger version of Ustinov’s impresario. In a longer flashback, constituting most of the second half of the film, her career as courtesan reaches a peak: her affair with the Bavarian King Ludwig I (Anton Walbrook), which incenses his subjects and leads to his eventual downfall in the March Revolution of 1848. In a final circus sequence, Lola — a “fallen woman” — ascends to the apex of the big top tent for a symbolic, death-defying plunge. She is last seen allowing herself to be touched, or kissed, by a very long queue of male, fee-paying circus patrons.

Cast

Martine Carol in Max Ophüls' LOLA MONTÈS (1955). Credit: Rialto Pictures. Playing 10/10-10/30

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Production

Lola Montès was filmed in Paris, Nice, and Munich.

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Release

This would be the last film directed by Ophüls before his death of a heart attack in March 1957. As originally shown in France in 1955, the audience sees the events of Lola Montès’ life through the use of flashbacks. Use of the technique was criticized upon its release and the movie did poorly at the box office. In response, the producers re-cut the film and shortened it in favor of a more chronological storyline, against the director’s wishes.

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According to Roger Ebert, a “savagely butchered version was in circulation for a few years” following Ophuls’ death.[1] The film critic Andrew Sarris and others eventually showed improved versions, progressively closer to the original, at the New York Film Festival in 1963 and 1968.

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Restoration

Certain elements remained missing and believed lost, but the recent discovery and restoration efforts by Technicolor artists of the lost footage allowed a new version to be edited according to Ophul’s original intentions. The color version of the film with missing footage was digitally restored by a small team of restoration artists including John Healy at Technicolor under the direction of Tom Burton.

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The black and white version of the film was repaired by Martina Müller and Werner Dütsch.[2] The color version including lost footage was shown at the New York Film Festival according to the director’s edit version on Sept. 26 – Oct. 12, 2008.[3]

Lola Montès was re-released by Rialto Pictures in November 2008 with the full Cinemascope aspect ratio restored and with five minutes of additional footage never before shown in any U.S. release.

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Lola Montès was released on DVD and Blu-ray in North America by The Criterion Collection in February 2010.[4]

Legacy

Roger Ebert lauded the film’s camerawork and set design, but felt that Carol’s “wooden [and] shallow” performance as the titular character prevented the film from achieving greatness.[1] Nonetheless, it is today among Ophüls’ revered works.[5] Dave Kehr called it a masterpiece, and wrote that “certainly this story of a courtesan’s life is among the most emotionally plangent, visually ravishing works the cinema has to offer.”[6]

The film also received five votes in the British Film Institute‘s 2012 Sight & Sound critics’ poll.[7] Lola Montès is acclaimed in Danny Peary‘s 1981 book, Cult Movies as one of the 100 most representative examples of the cult film phenomenon.

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References

  1. ^ Jump up to:a b Ebert, Roger (November 5, 2008). “Lola Montes movie review”. Chicago Sun-Times.
  2. Jump up^ Martina Müller, Werner Dütsch: Lola Montez – Eine Filmgeschichte
  3. Jump up^ “New York Film Festival review of the restored version”. Film Society of Lincoln Center. Retrieved 10 July 2009.
  4. Jump up^ http://www.criterion.com/films/938
  5. Jump up^ “Max Ophüls’s Acclaimed Films”. February 7, 2016. Retrieved July 24, 2016.
  6. Jump up^ Kehr, Dave. “Lola Montes”. Chicago Reader. Retrieved July 24, 2016.
  7. Jump up^ “Votes for LOLA MONTÈS (1955)”. British Film Institute. Retrieved July 24, 2016.

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Kiss Me Deadly (1955) Trailer – The Criterion Collection

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Kiss Me Deadly is an 1955 film noir, produced and directed by Robert Aldrich, that stars Ralph Meeker. The screenplay was written by A.I. Bezzerides, based on the Mickey Spillane Mike Hammer mystery novel Kiss Me, Deadly. The film was released by United Artists

Kiss Me Deadly grossed $726,000 in the United States and a total of $226,000 overseas. The film also withstood scrutiny from the Kefauver Commission, which called it a film “designed to ruin young viewers”, leading director Aldrich to protest the Commission’s conclusions.

Kiss Me Deadly marked the film debuts of the actresses Cloris Leachman and Maxine Cooper.[3]

Kiss Me Deadly is often considered a classic of the noir genre. In 1999, Kiss Me Deadly was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

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Plot

Ralph Meeker plays Mike Hammer, a tough Los Angeles private eye who is almost as brutal as the crooks he chases. Mike and his assistant/secretary/lover, Velda (Maxine Cooper), usually work on “penny-ante divorce cases”.

One evening on a lonely country road, Hammer gives a ride to Christina (Cloris Leachman), an attractive hitchhiker wearing nothing but a trench coat. She has escaped from a mental institution, most probably the nearby Camarillo State Mental Hospital. Thugs waylay them and Hammer awakens in some unknown location where he hears Christina screaming and being tortured to death. The thugs then push Hammer’s car off a cliff with Christina’s body and an unconscious Hammer inside. Hammer next awakens in a hospital with Velda by his bedside. He decides to pursue the case, for vengeance, a sense of guilt (as Christina had asked him to “remember me” if she got killed), and because “she (Christina) must be connected with something big” behind it all.

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The twisting plot takes Hammer to the apartment of Lily Carver (Gaby Rodgers), a sexy, waif-like woman who is posing as Christina’s ex-roommate. Lily tells Hammer she has gone into hiding and asks Hammer to protect her. It turns out that she is after a mysterious box that, she believes, has contents worth a fortune.

“The great whatsit”, as Velda calls it, at the center of Hammer’s quest is a small, mysterious valise that is hot to the touch and contains a dangerous, glowing substance. (It comes to represent the 1950s Cold War fear and paranoia about the atomic bomb that permeated American culture.)

Later, at an isolated beach house, Hammer finds “Lily”, who is revealed to be an imposter named Gabrielle, with her evil boss, Dr. Soberin (Albert Dekker). Velda is their hostage, tied up in a bedroom. Soberin and Gabrielle are vying for the contents of the box. Gabrielle shoots Soberin, believing that she can keep the mysterious contents for herself. She also shoots and wounds Hammer, who manages to find Velda. As Gabrielle slyly opens the case, it is ultimately revealed to be stolen radionuclide material, which reaches explosive criticality when the box is fully opened. Horrifying sounds emanate from the nuclear material as Gabrielle and the house burst into flames, just as Hammer and Velda escape.

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Alternative Ending

The original American release of the film shows Hammer and Velda escaping from the burning house at the end, staggering into the ocean as the words “The End” come over them on the screen. Sometime after its first release, the ending was altered on the film’s original negative, removing more than a minute’s worth of shots where Hammer and Velda escape and superimposing the words “The End” over the burning house. This implied that Hammer and Velda perished in the atomic blaze, and was often interpreted to represent the apocalypse. In 1997 the original conclusion was restored, where Velda and Mike survive. The DVD release has the original ending, and offers the truncated ending as an extra.

The film is described as “the definitive, apocalyptic, nihilistic, science-fiction film noir of all time – at the close of the classic noir period”.[4]

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Cast

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Background

Los Angeles locations

Kiss Me Deadly remains one of the great time capsules of Los Angeles. The Bunker Hill locations were all destroyed when the downtown neighborhood was razed in the late 1960s.

  • Hill Crest Hotel, NE corner of Third and Olive Streets, Bunker Hill (Italian opera singer’s home)
  • The Donigan ‘Castle’, a Victorian mansion at 325 S. Bunker Hill Avenue (where Cloris Leachman’s character lived; it was used for interiors and exteriors).
  • Apartment Building, 10401 Wilshire Blvd, NW corner of Wilshire and Beverly Glen (Hammer’s apartment building; still standing)
  • Carl Evello’s Mansion, 603 Doheny Road, Beverly Hills, California
  • Clay Street, an alley beneath Angels Flight incline railway, on Bunker Hill, where Hammer parks his Corvette and then takes the back steps up to the Hill Crest Hotel, but when we cut to him approaching the hotel’s large porch, he’s on the Third Street steps opposite Angels Flight.
  • Club Pigalle, 4800 block of Figueroa Avenue (the black jazz nightclub where Hammer hangs out)
  • Hollywood Athletic Club, 6525 W. Sunset Blvd. (where Hammer finds the radioactive box; still standing)

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Reception

Critical response

Critical commentary generally views it as a metaphor for the paranoia and nuclear fears of the Cold War era in which it was filmed.[5]

Although a leftist at the time of the Hollywood blacklist, Bezzerides denied any conscious intention for this meaning in his script. About the topic, he said, “I was having fun with it. I wanted to make every scene, every character, interesting.”[6]

Film critic Nick Schager wrote, “Never was Mike Hammer’s name more fitting than in Kiss Me Deadly, Robert Aldrich’s blisteringly nihilistic noir in which star Ralph Meeker embodies Mickey Spillane’s legendary P.I. with brute force savagery… The gumshoe’s subsequent investigation into the woman’s death doubles as a lacerating indictment of modern society’s dissolution into physical/moral/spiritual degeneracy – a reversion that ultimately leads to nuclear apocalypse and man’s return to the primordial sea – with the director’s knuckle-sandwich cynicism pummeling the genre’s romantic fatalism into a bloody pulp. ‘Remember me’? Aldrich’s sadistic, fatalistic masterpiece is impossible to forget.”[7]

The film review aggregator website Rotten Tomatoes reports that 97% of critics gave the film a positive review, based on 37 reviews.[8]

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Accolades

In 1999, Kiss Me Deadly was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

American Film Institute

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Influence

Homage is paid to the glowing suitcase MacGuffin in the 1984 cult film Repo Man, the film Ronin, and in Tarantino’s film Pulp Fiction. The “shiny blue suitcase” is mentioned with other famous MacGuffins in Guardians of the Galaxy. In the film Southland Tales, Richard Kelly pays homage to the film, showing the main characters watching the beginning on their television and later the opening of the case is shown on screens on board the mega-Zeppelin.

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Differences from the novel

The original novel, while providing much of the plot, is about a mafia conspiracy and does not feature espionage and the nuclear suitcase, elements added to the film version by the scriptwriter, A.I. Bezzerides.

It further subverted Spillane’s book by portraying the already tough Hammer as a narcissistic bully, the darkest anti-hero private detective in the film noir genre. He apparently makes most of his living by blackmailing adulterous husbands and wives, and he takes an obvious sadistic pleasure in violence, whether he’s beating up thugs sent to kill him, breaking a contact’s treasured record to get him to talk, or roughing up a coroner who’s slow to part with a piece of information. He also apparently has no compunction about engaging in nefarious acts such as pimping his secretary. Bezzerides wrote of the script: “I wrote it fast because I had contempt for it … I tell you Spillane didn’t like what I did with his book. I ran into him at a restaurant and, boy, he didn’t like me”.[9]

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Home media

A digitally restored version of the film was released on DVD and Blu-ray by The Criterion Collection in June 2011 and has the alternative ending as a bonus feature.[10]

See also

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References

  1. Jump up^ Alain Silver and James Ursini, Whatever Happened to Robert Aldrich?, Limelight, 1995 p 238
  2. Jump up^ French box office results for Robert Aldrich films at Box Office Story
  3. Jump up^ Nelson, Valerie J. (2009-04-15). “Maxine Cooper Gomberg dies at 84; actress in the film noir classic ‘Kiss Me Deadly'”. Los Angeles Times. Retrieved 2009-04-16.
  4. Jump up^ Dirks, Tim. “Kiss Me Deadly”. Filmsite.org.
  5. Jump up^ Prince, Stephen, Visions of Empire: Political Imagery in Contemporary American Film, Praeger/Greenwood, 1992, ISBN 0-275-93662-7.
  6. Jump up^ Vallance, Tom Archived 2007-10-01 at the Wayback Machine.. The Independent, Obituary, “A. I. Bezzerides. No-nonsense novelist/screenwriter,” January 20, 2007. Last accessed: March 25, 2008.
  7. Jump up^ Schager, Nick. Slant Magazine, film review, 2006. Last accessed: March 25, 2008.
  8. Jump up^ Kiss Me Deadly at Rotten Tomatoes. Last accessed: February 22, 2013.
  9. Jump up^ Bergan, Ronald The Guardian, Obituary, “A.I. Bezzerides: Screenwriter victim of the Hollywood blacklist, he is renowned for three classic American film noirs,” February 6, 2007.
  10. Jump up^ “Kiss Me Deadly”. The Criterion Collection.

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Bibliography

  • Parish, James Robert and Michael R. Pitts. The Great Science Fiction Pictures. Jefferson, North Carolina: McFarland & Company, 1977. ISBN 0-8108-1029-8.
  • Strick, Philip. Science Fiction Movies. London: Octopus Books Limited, 1976. ISBN 0-7064-0470-X.
  • Warren, Bill. Keep Watching The Skies Vol I: 1950–1957. Jefferson, North Carolina: McFarland & Company, 1982. ISBN 0-89950-032-3.

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