No. 17 (2022) NIGHTMARE ALLEY Feb. 27th.

 

Film No. 17 (2021)  February 27th.  3.20 PM   Cinema 8.  LUNA,  Leederville. 

"We've had our share of snake charmers in the past; we deal with them". (Ezra Grindle explains his view on those who have been dishonest with him through the years).

I've been a long time getting to this rich melodrama. And I found that this film noir thriller is of exceptional quality. When I heard of director Guillermo del Toro's determination to re-release NIGHTMARE ALLEY in black and white format I thought I'd wait and I'm pleased I did. The image of the seedy sideshow (a carnival littered with the talents of Rooney, Dafoe, Strathairn, Blanchette, Collette, Jenkins and Steenburgen) comes alive in a simple story, rich in detail. 

It's always nerve-wracking when one talks friends into coming to a flick you trust they'll like. I needn't have worried. All four of us walked from the cinema glowing in our praise of a wonderfully crafted film.

Guillermo del Toro (THE SHAPE OF WATER, CRIMSON PEAK) is the master of mood and image. Here, based on the original novel by William Gresham, he has created a minor masterpiece. I say minor because crowds have kept their distance for the most part, but mainly because of COVID fears, and partly because of its ill-timed release date; within days of SPIDERMAN: NO WAY HOME. Hopefully this black and white re-boot (the way del Toro originally hoped it would be seen) will give Nightmare Alley the box-office boost it deserves. 

It is the story of grifter Stanton Carlisle (Bradley Cooper) trapped in a cycle of life where he makes bad decisions as if it is an artform he has mastered. We meet him as he begins a new cycle of deceit. He walks into a grimy sideshow where his fast talking and new ideas give the second rate carnival a boost. Mara's, Molly, provides him with the ammunition he needs to rise to new challenges. Molly is in love with Carlisle, she's blind to the fact he's bad news. He's "the break" she's been looking for. 

But there's another dame; Dr Lilith Ritter (Blanchette) who calls his bluff. She's a professional shrink. She has an idea about how to rip-off the wealthy. The ultimate grift in the eyes of Carlisle. They form a team. Molly's out of her depth, but she is an essential extra.

These types of stories filled picture screens as matinee fodder all over the world from the 30's to the 60s. del Toro has captured the art of the noir classic perfectly here. In shades of Black and White if you can find it.  11GUMS.