Ultra-Rare Film Noir Shot on Location in Los Angeles! In THE TURNING POINT, prosecutor Edmond O’Brien leads a government probe into a crime syndicate, but he’s hamstrung by pervasive political corruption. In THE SCARLET HOUR, tony seductress Carol Ohmart and her lover Tom Tryon overhear plans for a jewel robbery, and believe the scheme will be their deliverance from Ohmart’s possessive husband. AND, they go to the Beverly Hilton's Crystal Ballroom to hear Nat King Cole perform!
THE TURNING POINT / THE SCARLET HOUR
Presented by the American Cinematheque and the Film Noir Foundation
New Digital Restoration!
THE TURNING POINT
1952, Paramount, 85 min, USA, Dir: William Dieterle
Prosecutor Edmond O’Brien leads a government probe into a crime syndicate headed by sinister Ed Begley, but he’s hamstrung by pervasive political corruption. Crusading reporter William Holden agrees to assist - while he and O’Brien vie for the attention of a loyal Alexis Smith. The hard-edged script (based on an unpublished novel by Horace McCoy) is a real-life lift from the Kefauver Committee’s exposé of organized crime on the national level. Bunker Hill, Angel’s Flight and Olympic Auditorium all accentuate the period realism. Co-starring Tom Tully, Ted de Corsia and Ray Teal. Presented in a new digital restoration by Paramount Pictures, created specifically for NOIR CITY!
35 mm! Ultra-Rare Archival Print!
THE SCARLET HOUR
1956, Paramount, 95 min, USA, Dir: Michael Curtiz
Nearing the end of his legendary career, Michael Curtiz produced and directed this intricately plotted L.A.-based crime thriller headed by a cast of new discoveries. A tony seductress (Carol Ohmart) and her lover (Tom Tryon) overhear plans for a jewel robbery, and believe the scheme will be their deliverance from Ohmart’s possessive husband (James Gregory). Highlights include a guest appearance by Nat King Cole singing “Never Let Me Go” in the Crystal Room of the Beverly Hills Hotel. Culled from the Paramount vault, this 35mm print remains one of the least seen film noirs of the 1950s, featuring Curtiz’s use of the then-new Fujinon camera lens. You’ll only see this at NOIR CITY!
Introduction by Alan K. Rode of the Film Noir Foundation.
Screening formats: DCP (THE TURNING POINT). 35mm (THE SCARLET HOUR)
Sponsored by Warner Archive, Art Deco Society of Los Angeles, Hoccomocco Pictures/Thin Ice, Sweeney Todd's Barber Shop, William M. Paparian Attorney at Law
Quite a few titles in the series have to be seen theatrically, as they are not on DVD.
All screenings hosted by Eddie Muller and/or Alan K. Rode of the Film Noir Foundation.
For details on the series see: