My Name Is Julia Ross (1945) - News Poster


Terror in a Texas Town

On paper it’s a western with everything — a major star, decent supporting players, a cult director and sideways references to the blacklisting years. But even with its ya-gotta-see-it-to-believe-it high noon showdown scene, Joseph H. Lewis’s last feature film is still a lower-tier United Artists effort. Sterling Hayden goes up against Sebastian Cabot and Nedrick Young, armed with a, with a . . . aw, you probably know already.

Terror in a Texas Town


Arrow Academy

1958 / B&W / 1:85 widescreen / 80 min. / Street Date July 11, 2017 / Available from Arrow Video / 39.95

Starring: Sterling Hayden, Sebastian Cabot, Carol Kelly, Eugene Martin, Nedrick Young, Victor Millan, Frank Ferguson, Marilee Earle, Byron Foulger, Glenn Strange.

Cinematography: Ray Rennahan

Original Music: Gerald Fried

Written by Dalton Trumbo, fronted by Ben Perry

Produced by Frank N. Seltzer

Directed by Joseph H. Lewis

Auteurists in the early 1970s championed directors like Phil Karlson, Budd Boetticher and Anthony Mann. These stylists
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Terror In A Texas Town Starring Sterling Hayden Available on Blu-ray July 11th From Arrow Video

Terror In A Texas Town will be Available on Blu-ray and DVD on July 11th From Arrow Video

For his 41st and final feature film, Joseph H. Lewis was able to combine the two genres in which he had excelled. The man in the director’s chair for My Name is Julia Ross, Gun Crazy and The Big Combo, Lewis was one of the all-time greats in film noir. But he was also a fine director of Westerns, having made A Lawless Street, 7th Cavalry and The Halliday Brand, all of which – especially the last – remain underrated. Terror in a Texas Town would bring his noir sensibilities to the American West, resulting in one of his finest works.

McNeil (Sebastian Cabot, The Time Machine) is a greedy hotel owner who wants to take control of Prairie City, the Texas town of the title. Keen to drive the local farmers of their land,
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Cult Horror, Film Noir, and Sci-Fi Movies Tonight on TCM: Ulmer Remembered

Edgar G. Ulmer movies on TCM: 'The Black Cat' & 'Detour' Turner Classic Movies' June 2017 Star of the Month is Audrey Hepburn, but Edgar G. Ulmer is its film personality of the evening on June 6. TCM will be presenting seven Ulmer movies from the mid-1930s to the mid-1960s, including his two best-known efforts: The Black Cat (1934) and Detour (1945). The Black Cat was released shortly before the officialization of the Christian-inspired Production Code, which would castrate American filmmaking – with a few clever exceptions – for the next quarter of a century. Hence, audiences in spring 1934 were able to witness satanism in action, in addition to other bizarre happenings in an art deco mansion located in an isolated area of Hungary. Sporting a David Bowie hairdo, Boris Karloff is at his sinister best in The Black Cat (“Do you hear that, Vitus? The phone is dead. Even the phone is dead”), ailurophobic (a.
See full article at Alt Film Guide »

March 21st Blu-ray & DVD Releases Include Robocop Sequels, Teen Witch, Wolf Creek Season 1

March 21st is a big day for cult film fans, not to mention all you RoboCop enthusiasts out there, as Tuesday has a variety of horror and sci-fi offerings that you’ll undoubtedly want to add to your home entertainment collections. Scream Factory is releasing a pair of amazing Collector's Edition Blu-rays for RoboCop 2 and RoboCop 3, and Kino Lorber is keeping busy with a trio of HD releases, too: Chamber of Horrors, Invisible Ghost, and A Game of Death.

Other notable titles making their way home on March 21st include Wolf Creek: Season One, Eloise, John WatersMultiple Maniacs, and Frankenstein Created Bikers.

Chamber of Horrors (Kino Lorber, Blu-ray & DVD)

Newly Mastered in HD! Chamber of Horrors was based on the classic novel, The Door with Seven Locks by Edgar Wallace (King Kong, The Terror) - it was the second Wallace adaptation brought to the States by Monogram Pictures.
See full article at DailyDead »

In a Lonely Place

It's a different Bogart -- a character performance in a Nicholas Ray noir about distrust anxiety in romance. Gloria Grahame is the independent woman who must withhold her commitment... until a murder can be sorted out. Which will crack first, the murder case or the relationship? In A Lonely Place Blu-ray The Criterion Collection 810 1950 / B&W / 1:37 flat Academy / 93 min. / available through The Criterion Collection / Street Date May 10, 2016 / 39.95 Starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, Jeff Donnell, Martha Stewart, Robert Warwick, Morris Ankrum, William Ching, Steven Geray, Hadda Brooks. Cinematography Burnett Guffey Film Editor Viola Lawrence Original Music George Antheil Written by Andrew Solt, Edmund H. North from a story by Dorothy B. Hughes Produced by Robert Lord Directed by Nicholas Ray

Reviewed by Glenn Erickson

Which Humphrey Bogart do you like best? By 1950 he had his own production company, Santana, with a contract for release through Columbia pictures.
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British Film Noir Collection | DVD Review

In a novel effort to stress that film noir wasn’t a film movement specifically an output solely produced for American audiences, Kino Lorber releases a five disc set of obscure noir examples released in the UK. Spanning a near ten year period from 1943 to 1952, the titles displayed here do seem to chart a progression in tone, at least resulting in parallels with American counterparts. Though a couple of the selections here aren’t very noteworthy, either as artifacts of British noir or items worthy of reappraisal, it does contain items of considerable interest, including rare titles from forgotten or underrated auteurs like Ronald Neame, Roy Ward Baker, and Ralph Thomas.

They Met in the Dark

The earliest title in this collection is a 1943 title from Karel Lamac, They Met in the Dark, a pseudo-comedy noir that barely meets the criteria. Based on a novel by Anthony Gilbert (whose novel
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Watch: Film Noir as a Subversion of Melodrama

Noir is a “challenge to dominant values,” according to critic Peter Labuza in this concise visual essay on one of cinephiles’ favorite “modes.” Bridging The Classical Hollywood Cinema with the writings of Linda Williams, Labuza considers film noir as a method of subverting the building blocks of melodrama, thus imbuing its viewers with a “feeling of displacement.” Perhaps most disorienting is that in everything from Mildred Pierce to My Name is Julia Ross, there is no weepy sense of satisfaction for the taking.
See full article at Filmmaker Magazine »

Notebook's 6th Writers Poll: Fantasy Double Features of 2013

  • MUBI
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.

All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.

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Cannes 2013. Passing Shots: Farhadi, Kore-Eda, Kashyap, Jodorowsky

  • MUBI
The Past (Asghar Farhadi, France)


I had forgotten what had rubbed me the wrong way about Farhadi's A Separation, but it didn't take The Past more than five minutes before a single cut jolted my memory of the writer-director's schematic, super-literal style of filming his scripts. For such an actor-based approach—the last three films of Farhadi's being heated, nearly claustrophobic personal encounters in small spaces—The Past's lack of a sense of the cinematic freedom one can get from forming a film around the actors (rather than the other way around) is disheartening. The deliberateness of every gesture and prop, every feeling, thought and subtext spoken out loud seems a kind of humanist-realism version of Haneke's relentlessly obvious cinema. It is minus Haneke's chiding, of course, but is certainly didactic, cloaked in the “unfolding” of “drama” (in the Classical Hollywood sense of invisible form, rather than Haneke's clinical-analytic
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Three Takes #3: Joseph H. Lewis' "My Name Is Julia Ross"

  • MUBI
Three Takes is a column dedicated to the art of short-form criticism. Each week, three writers—Calum Marsh, Fernando F. Croce, and Joseph Jon Lanthier—offer stylized capsules which engage, in brief, with classic and contemporary films.

Joseph H. Lewis'

My Name Is Julia Ross (1945)

Correspondence is so often destroyed in Joseph L. Lewis' My Name is Julia Ross—by everything from smugly shredding fingers to curling flame—that the film starts to appear contemptuous toward text. The unlucky scrawlings belong to the title character (Nina Foch), an American expat in London who's kidnapped, dragged to the Cornwall coast, and installed as the faux-loony surrogate wife of a burly nobleman named Hughes (George Macready). (Hughes’ wealth is surpassed only by his barbarism; he reenacts his real spouse’s fate by jabbing a couch pillow, not insignificantly, with a letter opener.) Ever resourceful, the captive Julia scribbles Sos's on scraps
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Movie Poster of the Week: Jacques Tourneur’s “Wichita” and Andrew Sarris’s Expressive Esoterica

  • MUBI
Above: Wichita (Jacques Tourneur, USA, 1955).

The great Andrew Sarris—dean of American film critics, thorn in the side of Pauline Kael, and the man who introduced the auteur theory to America—passed away last June at the age of 83. In an inspired piece of programming, Anthology Film Archives and guest programmer C. Mason Wells have chosen to honor Sarris with a baker's dozen of American rarities that, even with Kubrick at the IFC, Cimino at Film Forum and Rivette at Bam this weekend, must be the best show in town.

Sarris’s seminal book The American Cinema, Directors and Directions 1929-1968 was a bible to a generation of cinephiles (J. Hoberman publicly kissed his copy of it at the New York Film Critics Circle tribute to Sarris this year), a book that was both revered and disparaged for its canny cataloguing system. Sarris famously divided the roster of American directors
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Turner Classic Movies and Sony Pictures Home Entertainment Team Up on New TCM Vault Collection DVDs

Turner Classic Movies (TCM) and Sony Pictures Home Entertainment (Sphe) are joining forces on a new line of DVDs to be made available as part of the TCM Vault Collection. The offerings will include first-time DVD releases of classic films from the Columbia Pictures library. Among the DVD sets on tap will be a four-film collection of comedies starring Jean Arthur and introduced by TCM’s Ben Mankiewicz; a five-film set starring Humphrey Bogart; a large selection of cartoons from the United Productions of America (Upa) Jolly Frolics series, which includes the debut of the one-and-only Mr. Magoo and a special introduction and audio commentaries by film historian Leonard Maltin; as well as an intriguing collection of film noir thrillers, presented in partnership with The Film Foundation.

Like all films in the TCM Vault Collection, the new sets from Sphe are digitally remastered and include extensive on-screen bonus materials, including photos,
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Shadows of Film Noir: Gun Crazy

Shadows of Film Noir: Gun Crazy
The Subject

Joseph H. Lewis' Gun Crazy: made in 1949 and released in January of 1950 by United Artists. (Sometimes known as "Deadly Is the Female.") It has been selected for inclusion in the Library of Congress' National Film Registry. Warner Home Video's 2004 DVD is out of print, but it is available in the Film Noir Classic Collection Vol. 1 box set.

Behind the Scenes

Gun Crazy was one of the great "B" movies of its day. Over the years, its status has risen from cult classic to legitimate classic. It was made around the same time, but slightly after, Nicholas Ray's equally great They Live by Night (1949), and inspired later movies like Bonnie and Clyde (1967), Badlands (1973) and Kalifornia (1993), in addition to a "remake," Guncrazy (1992).

Director Joseph H. Lewis (1907-2000) was a New Yorker who worked in "B" movies and television his whole career, though he did create
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Who Wants More Noir? Columbia's B-Movies Hit The Roxie

More good news for my favorite film genre! Back in May, I attended and wrote about the great “I Wake Up Dreaming” noir film festival at San Francisco’s Roxie Theater, hosted by Elliot Lavine. Showcasing old and rare B-movies from the 30s to the 50s, the festival was so successful that it was extended for another week.

Consider this a further extension two changing seasons later, as starting this Thursday Mr. Lavine will once again bring 22 rare noir gems to the Roxie for two weeks of betrayals, knife-sharp suspense and treacherous women.

This time around, the films are newly restored 35mm archive prints from Columbia Pictures—directed by acclaimed directors like Nicholas Ray, Fritz Lang, Samuel Fuller, Don Siegel, and king of gimmicks William Castle. As with “I Wake Up Dreaming,” the films are shown as double features: two films for $11.

This collection offers a couple of noir-horror hybrid,
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Nina Foch Tribute

Nina Foch, who died last December, will be remembered by USC’s School of Cinematic Arts with “A Tribute to Nina Foch” on Tuesday, April 14, at 7:30 p.m. at the Academy of Motion Picture Arts and Sciences‘ Samuel Goldwyn Theater in Beverly Hills. "A Tribute to Nina Foch" will feature film clips as well as onstage remembrances with several of her colleagues, students, friends, and family. The Dutch-born stage, film, and television actress, among whose motion picture credits are the B-noir classic My Name Is Julia Ross (1945), the Oscar-winning musical An American in Paris (1951), an her Oscar-nominated supporting turn in Executive Suite (1954), was also an acting coach and a senior faculty member at the American Film Institute. Later, Foch taught for many years at the USC School of Cinematic Arts, offering the advanced seminar in directing actors for film. RSVP to All seating is unreserved. The
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Oscar Nominee Foch Dies After Falling Ill At University

  • WENN
Oscar Nominee Foch Dies After Falling Ill At University
Oscar nominee Nina Foch has died in Los Angeles. She was 84.

The actress fell ill while teaching at the University of Southern California on Thursday. She died the following day of complications from a long-term blood disorder.

Foch had been a teacher at USC for 40 years.

Born in Holland in 1924, she started out as a B-movie star in films like My Name Is Julia Ross in the mid-1940s and became a favourite in film noir movies like Human Desire and The Dark Past.

Foch also appeared in classics A Song to Remember, An American in Paris, The Ten Commandments and Executive Suite, for which she was Oscar nominated as a Best Supporting Actress.

She also earned an Emmy Award nod in 1980 for her work on an episode of Lou Grant.

See also

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