The Dark Drama of Film Noir

This episode originally aired on Saturday, January 19, 2013.

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Saturday, August 31, 2013

The Film Noir genre may be best known for its hard-boiled heroes, deceitful dames, and deeply shadowed stories and cinematography, but music also plays an important part in these dark dramas.

Composers such as Miklos Rozsa ("Double Indemnity," "Asphalt Jungle"), Max Steiner ("The Big Sleep"), Adolph Deutsch ("The Maltese Falcon"), and Bernard Herrmann ("Hangover Square") brought their considerable skills to Film Noir, blending symphonic drama and jazz harmonies to create the perfect ambiance for rainy night intrigue. On this program David Garland presents the sound of Film Noir classics.

Comments [3]

Barbara Petroske from New York City

I really enjoy this program since I love movies. This comment may not apply to "Film Noir" but while channel-surfing recently I was pulled in by the score for "Conan the Barbarian". Research told me "Poledouris's score for Conan the Barbarian is considered by many to be one of the finest examples of motion picture scoring ever written.)[3][4][5]Wikipedia. It certainly got to me, despite the visuals.

Sep. 08 2013 12:55 PM
Mike Haley

Terrific show. I love the genre anyway. Now I feel like I have to stay up all night and watch these movies. Mr. Garland you must revisit this with an episode 2.


Aug. 31 2013 10:56 PM
Nancy Bell

Just a note to say that I enjoyed tonight's film noir selections. And when David Garland played a jazzy film score for a French film, it brought to mind one of my all time favorite film scores; from the Louis Malle film, "Ascenseur pour L'echafaud" ("Elevator to the Scaffold")(1958) with Jeanne Moreau. The music, one of the most evocative and haunting film scores, was composed and played by Miles Davis with top French jazz musicians; Rene Urtreger, piano; Pierre Michelot, bass, Kenny Clarke (another American in Paris), drums, and Barney Wilen, tenor saxophone. The story is about a man who murders the husband of his lover(Jeanne Moreau) in the husband's office, then exits the scene by way of the elevator, which is suddenly turned off for the weekend, in the apparently empty building. David Garland is probably well aware of this film, but I just wanted to mention it. Thanks for your attention.

Aug. 31 2013 10:42 PM

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