Wed, 1 February 2006
This is perhaps the most noir of all neo-noirs. Never has 1990 Los Angeles looked and sounded so much like 1950 Los Angeles. While Stephen Frears sets Jim Thompson's source novel at the time the film is made, he carefully trims away modern LA. The film moves between the Bryson Apartments, the racetrack, and scenes on a train. Gone are the glitter and glitz of modern downtown and its skyscrapers. In their place are the greed and grift that have always been the motor driving the City of Angels--forces so strong they tear families to shreds and answer prayers with death. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.
Rich and I want to thank you for this insightful comment. We hope that more listeners will be willing to engage with us on specific points of our analysis. As the episodes pile up, it\'s harder to make bridges to all relevant moments in films we\'ve already discussed. That said, we both just plain missed the similarity between this moment in \"The Grifters\" and the end of \"The Maltese Falcon.\" It is a potentially rich parallel, and we\'d love to hear what you and others have to say about it. Thanks again for being such a dedicated listener.
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