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Usenet Posted 17 years ago
Screenwriting

Did you know there were TWO nuclear film noir?

Of course, many folks know about Kiss Me Deadly, but we saw another one from late in the noir cycle (clearly, a lot of bad scripts helped kill noir!), called City of Fear. Vince Edwards (yes, Dr. Ben Casey) and a canister of Cobalt 60 (whose radioactive properties are quite exaggerated) that the escapee thinks is heroin. You'd think a story like that would move a lot faster than this one did.
Actually, after 11 days of Columbia "noir," it seems to me that Columbia as a studio either just didn't understand what made noir tick, or didn't care, or generally had worse scripts than other studios of the same time (some late 1940s, some late 1950s). Don't know my film studio history well enough to guess which...
Has anyone seen any of these:
City of Fear
The Burglar
Murder by Contract
two of the best were:
The Sniper
The Lineup
and not just because they were set in San Francisco back when you could drive all the way down Market Street Emotion: smile
Mysti
  

Top answer

[nq:1]Of course, many folks know about Kiss Me Deadly, but we saw another one from late in the noir cycle ... because they were set in San Francisco back when you could drive all the way down Market Street Mysti[/nq] Your talk about "nuclear movies" brings to mind the British thriller (not really noir, but more of a police procedural) Seven Days to Noon (and I believe there was another British movie in a similar vein although the name escapes me now) but grown out of that same environment of nuclear anxiety. I think that it was always a bit of an odd fit.

  • [nq:1]Of course, many folks know about Kiss Me Deadly, but we saw another one from late in the noir cycle ...
  • because they were set in San Francisco back when you could drive all the way down Market Street Mysti[/nq] Your talk about "nuclear movies" brings to mind the British thriller (not really noir, but more of a police procedural) Seven Days to Noon (and I believe there was another British movie in a similar vein although the name escapes me now) but grown out of that same environment of nuclear anxiety.
  • I think that it was always a bit of an odd fit.
  • The earlier world of crime thrillers, back in the thirties, never had any problem with high tech science fiction gadgets rays and robots and bizarre death- dealing inventions in that same world of thugs and gangsters and dark alleys and dames and criminal kingpins but I think that the bombs on Hiroshima and Nagasaki transformed our vision of those kinds of weapons pushed them out of the world of The Shadow and the fantasy- edged crime thriller and into a whole different world the real world.
  • In a way, when we tried to deal with that apocalytic reality, it just couldn't be tugged back into that smaller, familiar, more contained "gangster" world but had to push out into the more fantastical (and in some ways safer) world of science fiction, fantasy, monster movies, apocalyptic and science fictional allegory that came in the fifties and afterward.
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4 Answers
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[nq:1]Of course, many folks know about Kiss Me Deadly, but we saw another one from late in the noir cycle ... because they were set in San Francisco back when you could drive all the way down Market Street
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"nmstevens"
[nq:1]Whichever is true, what ended up happening is that this guy, with his pick-up truck, rolled it into the storage ... he did this, the container containing all of those thousands of little granules of highly radioative material promptly cracked open.[/nq]
Etc.
That's quite a story.
Did you know the steel from sunken WWI battleships is highly sought after? It seems a
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[nq:1]And as for the pellets that may have been picked up in people's tires? Nothing they could really do about it. No doubt they're still out there somewhere.[/nq]
Martin's comment is also true: since all the open-air nuclear bomb testing of the 50s and 60s, virtually all commercial steel in the world is slightly radioactive.
Alan Brooks

A with an Underwood
Sic transit syste
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nmstevens wrote some great stuff.
So, the first thing to remember is that film noir in its purest form is quite different from crime dramas or police procedurals.

As film noir died in America, it began to transform in one direction into police procedurals, aided and abetted by studios who often wimped out and slapped redemptive endings on film noir stories that would have been much be

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