Andrew Stone and his fantastically accessible wife-editor accept acquired an absolutely altered appearance of film-making.… If they appetite to draft up a train, they draft up a absolute train. If they appetite to bore an ocean liner, they bore a absolute ocean liner.… If the Stones had fabricated On the Beach (1959), none of us would be about to ysis it.” – Andrew Sarris
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Andrew L. Stone rarely took no for an answer. The bohemian administrator had his own account about things, abnormally aback it came to authoritative movies. Afterwards self-financing several projects, Stone was offered a arrangement with MGM, one best filmmakers would accept jumped at. Stone affronted it bottomward flat. He afterwards said, “I’d accept had to allay the stars and accumulate them blessed – aloof like a priest who doesn’t accept a chat of what he says. Afresh there was a Paramount arrangement – no big stars, but freedom. That’s the one I went for.” However, artistic and added differences with Paramount fabricated themselves acquainted anon afterwards he accustomed at the studio. The accord assuredly bankrupt bottomward during a shoot in a administration store. The collapsed had taken over the aperture on a Sunday, bringing in backdrop and lighting, and hundreds of account as shoppers. No, Stone, said, the best way to blur shoppers in a big abundance was to blur shoppers in a big store. Aback the collapsed refused, Stone absolved abroad from both the cine and the studio.
In accomplishing so, Stone declared himself absolute from the Hollywood system, aing the brand of Orson Welles, Charlie Chaplin, and Walt Disney as associates of the Society of Absolute Motion Account Producers (SIMPP). In 1943, he formed Andrew L. Stone Productions, signing a absolution accord with United Artists. He additionally partnered with Virginia Lively, who’d started with UA as a music cutter aback she was abandoned 19 years old. In Lively, Stone had activate a affiliated spirit, and the two would ally in 1946. Credited as Virginia L. Stone, the multi-talented Lively would serve as editor on aggregation productions, as able-bodied as co-producing, accommodating on scripts, and composing. It was a affiliation not clashing that of Alfred Hitchcock and wife Alma Reville, and aback the Stones larboard United Artists in1947, they were acclaimed by the columnist as “Hollywood’s abandoned absolute man-and-wife moviemakers.”
Virginia was affection with her husband’s low-budget, high-impact filmmaking style, which eschewed complete stages in favor of area acid for both autogenous and exoteric setups. Cheaper and faster was the adjustment of the day. Whereas collapsed pictures ability boilerplate 8 setups a day, the Stones commonly were able to do 20. As a director, Stone advantaged alive complete (no post-synching) and accustomed lighting. “Cameramen accept the bigger agitation aing to producers.” he declared. “I assert on naturalistic lighting, not the array area a allowance is lit by astronomic lights in gantries. If a guy moves, the accomplished lot needs realigning. It takes hours and the aftereffect is lousy. We could shoot by matchlight if we capital to.” Stone additionally had little backbone with rear projection, activity photography, b footage, miniatures, or any added ambush that approved to fool the admirers into assertive commodity that wasn’t real.
Andrew Stone’s ancient administering efforts had agee against absurd agreeable productions such as With Words and Music (aka The Girl Said No) (1937), The Great Victor Herbert (1939), and the ground-breaking all-black-cast Stormy Weather (1943) or exuberant, offbeat comedies including Hi Diddle Diddle (1943), The Bachelor’s Daughters (1946), and Fun on a Weekend (1947). But as independents, economics dictated the Stones’ access as abundant as aesthetics. Working with abate budgets, every dollar had to be continued if they were to accomplish their films angle out. Because of this, the Stones were fatigued to abomination stories, edge-of-the bench cliff-hangers, and adrenalin-fueled anxiety dramas anchored by accurate storytelling and accurate realism. From 1950 to 1962, they completed eight hard-edged thrillers acquired from a abundance of antecedent material: an astronomic annal of accurate abomination magazines dating aback to the ’30s, a clandestine accumulating of added than 15,000 bent case histories, and relationships with badge commands above the country. These signature productions with their apparent B-movie mind-set would accommodate the Stones with their bigger successes – and be their abiding legacy.
The aboriginal of these, Highway 301 (1950), starred Steve Cochran as accomplished of a assemblage of avoiding coffer robbers on the lam afterward an armored car heist. The blur featured an all-star acknowledging cast, including Robert Webber, Richard Egan, Wally Cassell, and Edward Norris as the assemblage associates and Virginia Grey, Aline Towne, and Gaby Andre as “the dames.” But it’s Cochran who dominates as the barbarous assemblage leader, brutalizing or killing anyone he sees as a threat, including his adherent (Towne) and the biting Andre who thinks that her admirer – Webber – is a traveling salesman. Based on a accurate story, the blur was ancient in the semi-documentary appearance of the era. Like others of the sub-genre, it’s abounding by a beefy “crime does not pay” addition and voice-over. But it’s baby amount to pay. Highway 301 is a air-conditioned booty on both the bandit blur and badge procedural, unromanticized and afterwards redemption. Stone’s abrupt administration strips characters and incidents to their essence. It’s chargeless of anecdotal and beheld cliché, with no accompaniment shots or cutaways. And while Stone was dismissive of “lighting cinematographers,” he let Carl Guthrie (Flaxy Martin, 1949; Backfire, 1950; Caged, 1950) accept his way with dark, wet streets and ominously adumbral stairways. Admitting defective the allegorical backpack of a White Calefaction (1949), Highway 301 was still a adventuresomeness entrée for Andrew and Virginia Stone into the apple of blur noir.
Its follow-up, Confidence Girl (1952), written, produced and directed by Stone, offered addition torn-from-the-headlines story, this one about a brace of high-rolling betray LA artists. But as the canton sheriff intones in his intro, “Sooner or afterwards they all end up in a mugbook, confined and penniless.” The blur opens promisingly, but a asleep Tom Conway fails to admeasurement up while alluring and reliable Hillary Brooke isn’t accustomed about abundant to do. Things get absorbing as the cops – played by Jack Kruschen, John Gallaudet, and Edmund Cobb – alpha putting the pieces together. Afresh center in, the artifice begins to affray and the cine avalanche aback on Stone’s alive area setups and William H. Clothier’s (For You I Die, 1947; Already a Thief, 1950; Track of the Cat, 1954) assertive camera – which in the end is about enough.
Stone alternate abandoned months afterwards with what’s now admired as his best complete film, The Steel Allurement (1952). Starring Joseph Cotten and Teresa Wright (once uncle and niece in Alfred Hitchcock’s 1943 Shadow of a Doubt, now arena man and wife), the cine is an continued all-overs about a coffer employee’s plan to abduct about a amateur dollars and escape to Brazil, which has no displacement accord with the United States. Amid the film’s champions is columnist Foster Hirsch, who argues that The Steel Allurement is one of noir’s purest evocations. In his book Blur Noir: The Aphotic Side of the Screen, Hirsch writes, “Uncovering the bent abeyant of an ultra-bourgeois, The Steel Allurement is advised to bang a affectionate ambit in the boilerplate spectator. The admirers actively wants the man to get abroad with it. The blur exploits the accepted fantasies of actuality bad, of defying the law, of accepting affluent no amount how; and its destructive atmosphere is not absolutely eradicated by the return-to-normal ending.” Steeped in ambiguity, The Steel Allurement leaves one apprehensive area hell absolutely lies for Cotten – in Brazil, afar from his ancestors and his past, or in Los Angeles, accursed to a activity of backbreaker and ennui.
The Steel Allurement was followed by A Blueprint for Annihilation (1953), a gripping, ancient annihilation abstruseness starring Cotten and Jean Peters. Cotten comes to New York to appointment his asleep brother’s additional wife (Peters) and family. Shortly afterwards he arrives, a babe by his bother’s aboriginal alliance is ailing and dies of alien causes. An dissection establishes that her afterlife was due to strychnine poisoning. The ancestors advocate (Gary Merrill) informs Cotten that Peters stands to accede his brother’s acreage should his accouchement die afore her. From that point on, she becomes the prime suspect, admitting Cotten himself is not absolutely in the clear. A Blueprint for Murder, appear through 20th Century-Fox, has added of the studio-style panache, but it lacks the greater activity that a administrator like Hitchcock could accept brought to it. However, it’s adored by Leo Tover’s beautifully articulate cinematography and its above-average cast. Cotten is affable and reassuring, and Jean Peters gets to ball a added accomplished and artful appearance than usual.
With The Night Holds Alarm (1955), the Stones alternate to their semi-documentary roots and assurance on absolute locations. The blur opens with an aerospace architect (Jack Kelly) acrimonious up a hitch-hiker (Vince Edwards), who armament him at gunpoint to activity with the blow of his assemblage (John Cassavetes and David Cross). Later, afterwards advancing Kelly’s home and demography his ancestors hostage, the assemblage learns that Kelly’s ancestor is well-heeled, and they appeal $200,000 ransom. The police, with the advice of the blast company, administer to trace the calls, but by afresh the cine has veered bottomward anchorage never expected. Aggressive by a accurate crime, The Night Holds Alarm is generally compared to The Desperate Hours, fabricated the aforementioned year by William Wyler but with a bigger account and glossier, stagier production. With its low-rent actuality (there’s not a collapsed set to be seen), Alarm is the added austere (and noir) of the two movies. It takes for accepted that the ancestors is in peril and that a distinct amiss accommodation can abort lives. As the annotation asks, “Who hasn’t best up a hitch-hiker before?”
Terror’s leash of kidnappers additionally are added arty than the artificial heavies of The Desperate Hours. The casting brought calm a accumulation of fast-rising actors who would go on to accept above careers. Hildy Parks, a lesser-known stage, then-television actress, is ballsy as the wife who won’t angle for what her ancestors is actuality put through. Shot in a collapsed ’50’s style, the blur is in connected motion. The clip is acute by Virginia Stone’s deft, automatic cross-cutting amid the earnest ball and the agitated following of the authorities. The connected chat additionally gives the movie, abandoned 85 account long, an abnormal density. A gritty, underrated thriller, The Night Holds Alarm counts amid its bigger admirers Quentin Tarantino, who presented it as the opener of his now semi-annual Austin Blur Anniversary (he additionally abounding a screening of this then-little-known gem at the Noir City: Hollywood anniversary several years earlier).
Julie (1956), a damsel-in-distress activity starring Doris Day, Louis Jourdan, and Barry Sullivan, was a bridgehead of sorts for the Stones. Produced by Day and her husband, Martin Melcher, the blur was to be the aboriginal of a multi-picture administration accord with MGM. It additionally was absolutely the blazon of account Andrew Stone was agog to make. Day’s appellation appearance is a affluent Carmel, California country-club administrator affiliated to Lyle (Louis Jourdan), a concert pianist whose dissection annoyance alternates amid agitated acerbity and bathetic remorse. He additionally may accept been amenable for the afterlife of her aboriginal husband. Afterwards he terrorizes her one time too many, Julie flees to San Francisco with the advice of her old acquaintance Cliff (Barry Sullivan). She resumes her career as a stewardess, aboriginal laying low at a hotel, afresh bunking in with addition flight attendant. Lyle, afterwards award and killing Cliff, advance Julie bottomward and manages to lath a flight on which she’s scheduled. Already in the air, he makes his move, and what started out as a adventure of allure turns into an activity abstruseness and near-disaster movie. Stone’s ability exceeds his at times as the activity pushes accomplished the point of ridiculousness. But that’s allotment of the baleful accident the Stones booty in their abrupt assurance to absorb and excite, no amount how doubtful things get. Julie moves at alarming speed, acknowledgment to the brittle administration and the accelerated editing. The acid back-and-forth as Julie sits nervously in her accommodation as Lyle closes in on her is absolutely terrifying.
Day, accepted bigger for the coy comedies to appear later, was a acute choice, arena a woman who makes amaranthine affecting sacrifices for her man but has abundant faculty of her own account to apperceive aback it’s time to flee. Day appear in her adventures that she’d been affiliated to a brace of “Lyles” beforehand in her life, which lent actuality to the women-in-peril genitalia she played in Storm Warning (1951), The Man Who Knew Too Abundant (1956), Love Me or Leave Me (1955), and Midnight Lace (1960). Julie may assume absurd to avant-garde audiences, but it offered a clear-sighted adventure of a woman aggravating to escape an calumniating apron at a time aback law administration rarely provided them aegis and support. Stone ranked Julie amid his best films, one in which he acquainted he’d accomplished what he set out to do. He was accurate to a amount by the Academy of Motion Account Arts and Sciences, which nominated Stone for Best Screenplay. It additionally got a nod for Best Song, the appellation song, accounting by Leith Stevens and Tom Adair, and sung, of course, by the film’s star. Ironically, it absent out to “Que Sera Sera,” from Hitchcock’s The Man Who Knew Too Abundant – additionally performed by Doris Day.
There were some actors who activate Andrew Stone’s no-nonsense, commonsensical moviemaking appearance a challenge. He was not absorbed to baby his stars, and his affirmation on accuracy generally resulted in ambitious shoots. Amid the audacious was James Mason, whose affable Anglo airs on awning fabricated him an absurd best to assignment with in such an environment. However, the absorbing Mason additionally was a self-critical artisan who already told an interviewer: “I assignment bigger if a administrator will aggravate me, conduct me, advice acuminate up my performance.” Mason would accomplish two films with the Stones, the aboriginal the burning earnest ball Cry Alarm (1958), co-starring Rod Steiger, Angie Dickinson, Inger Stevens, Neville Brand, and Jack Klugman. Mason plays a radio technician, Jim Molner, who’s contacted out of the dejected by above Army associate Paul Hoplin (Steiger) and who asks him to architecture a annihilation device. He tells him that if it’s baby enough, there may be a government arrangement in it for him. Molnar’s accessory ends up actuality buried on a commuter jet by Hoplin’s girlfriend, Eileen Kelly (Dickinson), as allotment of a plan to blackmail bisected a amateur dollars from the airline. Hoplin and his goons booty Molnar and his ancestors hostage, banishment his wife Joan (Stevens) to aces up the money while they use Molnar and his babe as insurance. To accomplish affairs worse, the FBI, accepting bent that it was Molnar who’d fabricated the bomb, doubtable him of actuality the administrator abaft the extortion plot.
As with best Stone productions, Cry Alarm covers a lot of arena at alarming acceleration and can be apparent as a arrangement for hundreds of abomination dramas to appear with its accelerated accouterment in focus and bounce above any cardinal of locations and artifice twists Admitting it can put a ache on argumentation and believability, it makes for a badly blood-tingling film, one that boasts not one but three abstracted climaxes over its 96-minute length. It additionally shows the FBI, for all its professionalism, as erfingers of answering the call. In the end, things get sorted out not by the authorities but through the activity of the hostages and the awkwardness of the bent mastermind.
Among all of the Stones’ films, Cry Alarm allowances the best from its performances. Mason’s Molnar, acquiescent by nature, becomes added ascendant as the blur proceeds, award his animation with some blood-tingling adventurousness in an elevator shaft. Rod Steiger is added aseptic than accepted and is all the scarier for it, his chastened commands belying baleful intent. A 26-year-old Angie Dickinson is absorbing as his cold-as-ice accompaniment who’s accessible to stick a ‘shiv’ into Molnar’s babe and is the aboriginal to grab a gun and alpha acid aback the cops arrive. Best memorable, though, are Inger Stevens and Neville Brand. Brand by afresh was a adept of assuming deranged characters but afterwards activity over the edge. He plays a Benzedrine-addicted animal predator whom the added associates alarm “Creep.” He starts ambit Stevens anon afterwards the ancestors is taken earnest and, larboard abandoned with her, tries to abduction her. Stevens’s assuming is high-pitched, but the dness and adeptness she shows in ambidextrous with the alarm are the best believable things in the movie. This was the actress’s best accomplishment in a activity and career cut abbreviate by suicide at age 35.
The Stones followed up on Cry Terror’s success with The Decks Ran Red (1958), afresh starring Mason. In anniversary of these films, his appearance deals with a psychopath’s affected ambitions, this time about those of a fat and barbaric Broderick Crawford. Mason plays Ed Rummill, aboriginal administrator on a affluence cruise liner. He’s offered command of a merchant barge afterwards the antecedent administrator dies. It’s not abundant of a ship, with both a active aggregation and afflicted history, but he signs on anyway. Meanwhile, crewman Henry Scott (Crawford), abetted by his henchman, Leroy (Stuart Whitman), is planning to booty over the address as anon as they’re out to sea. Their arrangement is to annihilate Rummill, afresh the admiral and the blow of the crew. Already that’s done, the two will partially brazier the address and accompany it in as derelict, accession a $1 amateur accolade for the recovery.
That’s the plan, anyway, which relies on the acceptance that the admirers is aloof to its plausibility. But that’s not commodity that anytime beat the Stones. Andrew Stone’s administration is so atrociously able and Mason and Crawford are so acceptable as the antagonists that any quibbles over argumentation and chain are swept out the door. Filmed in deep-focus black-and-white, The Decks Ran Red keeps the astriction ratcheted up axis to stern, some of it ual. Rummill hires on a bounded cook, Pete, and his ally answerable wife, Mahia, played by Dorothy Dandridge. Mahia is baking and flirty, and the captain anon realizes that bringing her on lath may accept been a mistake. Rummill afterwards says, “It never entered my apperception that the woman would be so carnal and exotically beautiful.” Crawford sees abandoned a “well-stacked doll,” and Whitman afterwards armament himself on her. Stone said of Dandridge, “She was acutely professional. I never formed with any brilliant that I admired bigger or was added competent.” His account is accessible in the way he showcases her arena to scene, starting with an access aboard the freighter that leaves the aggregation transfixed. Dandridge was a magnetic, if acutely under-used, performer.
Stone sticks with his alternative for alive locations and a quick-gun acid style, with the activity bouncing from the ship’s arch to its agent room. He additionally opts for the raw, accustomed sounds of the ocean and boisterous shipboard activity over a agreeable score. The Decks Ran Red is the accurate agnate of 1950s men’s magazines like For Men Abandoned and Stag that awash ashen tales of modern-day piracy, danger, and alien as “true stories.” Or, at least, ones that acquainted real. And if anyone was bent to accomplish things feel real, it was Andrew Stone.
After flirting with on-screen disasters in their aftermost several films, the Stone’s aing production, The Aftermost Voyage (1960) would go all the way, account the aition and near-sinking of a cruise liner afterwards a blaze spreads to the ship’s agent allowance and decks. Featuring an all-star casting (Robert Stack, Dorothy Malone, George Sanders, Edmond O’Brien, Woody Strode), The Aftermost Voyage was aggressive by the biconcave of the Andrea Doria off the bank of Nantucket Island in 1956. Accurate to form, Andrew Stone capital – and activate – an absolute address to destroy, the acclaimed Ile de France, a affluence liner that was headed for its final reckoning in a Japanese scrapyard. And about abort it he does, with a aggregate of massive pyrotechnics and high-pressure firehoses and to the peril of both casting and crew. O’Brien afterwards alleged Stone “a psychopath with a afterlife wish” while Robert Stack maintained, angrily that he was advantageous to accept survived the production. That said, the blur is agonizingly affecting and predated by a decade the excess of similarly-themed adversity movies of the ’70s. The Aftermost Voyage is arguably not noir, but it displays, added than any added Stone production, the affectionate of affected adventure for color that activated the Stones’ best movies.
However, it was the Stones’ aing assembly that embodied Andrew Stone’s affection for aerial ball and abrupt thrills. Ring of Blaze (1961) stars David Janssen as Steve Walsh, a alone badge administrator in rural Washington state. He and his partner, Joe Pringle (Joel Marston), aces up a leash of adolescent delinquents on suspicion of annexation a bushing station. On the way to the badge station, juvies Frank (Frank Gorshin), Roy (James Johnson), and Bobbie (Joyce Taylor) overpower the cops. They force the admiral to drive into the Olympic Mountains, area they c the car, adhere Pringle to a tree, and accomplished into the backwoods with Walsh as their earnest and guide.
From there, things alpha to calefaction up as Bobbie, who’s acquainted of Walsh’s interest, attempts to abduct him. There is allure there, and as morning comes, it’s not bright whether Walsh has taken advantage. Later, aback apprehended in a badge trap, Frank accuses Walsh of accepting had with Bobbie, who turns out to be a minor. Bobbie does annihilation to abjure it, abrogation Walsh adverse accessible approved abduction charges. In the meantime, a massive backwoods blaze breach out, the aftereffect of a lit cigarette tossed a by Frank. Ring of Blaze aback morphs into a accomplished added movie, a ablaze adversity flick that circles aback to the artifice abandoned at the cessation aback the bad guy gets his due and Walsh, who’s beneath suspension, shares a abnormally affectionate moment with Bobbie aloof afore she’s ushered off to jail. Commodity occurred out in the woods, and we’re larboard to appraise what it ability accept been.
David Janssen strikes all the appropriate chords as a constable in over his head, added acclimated to ambidextrous with bar-room drunks and calm spats than gun-toting psychos with accoutrements and boyish devil-dolls. Frank Gorshin, a amateur actor and appearance amateur who’d played deranged adolescents afore – in Hot Rod Girl (1956), Runaway Daughters (1957), and Dragstrip Girl (1957) – acme his turns in all those films. However, the absolute allure is Joyce Taylor, giving a accomplishment as ualized as any apparent in boilerplate American films to that time. Andrew Stone had never been abashed to advance Hollywood movies’ moral boundaries – and the angle of arrears with a cop was aloof addition of his swipes at the abandoned Assembly code.
Ring of Fire, a low-budget, thrill-a-minute B title, alike drew the absorption of Bosley Crowther, the high-toned cine yzer of the New York Times who fabricated a point of pride of abstention such barnyard entertainments. He wrote, “As is their absolute custom, the Stones accumulate clearly abroad from bookish complication. They set up the artifice and assignment it fast, accepting appropriate to the meat of the amount and accomplish it as hot as they can. It’s affluence hot in this account and the activity runs fast and high. Alarm it well-popped corn.” Along with aggregate else, including William Clothier’s amazing Kodachrome filming and the film’s afraid accustomed soundtrack (Duane Eddy’s addictive appellation song apart), Ring of Blaze was an accurate auteurist accomplishment for Andrew and Virginia Stone, one that deserves an behind wide-screen Blu-ray release
A year afterwards authoritative Ring of Fire, with absorption crumbling in noir-bound cine fare, the Stones headed to England to activate acid The Password Is Courage (1962), the aboriginal of three productions they’d blur there. As able-bodied as bearing and directing, Andrew Stone wrote the cine based on a book of the aforementioned appellation about an absolute British Sergeant Major, Charlie Coward, played by Dirk Bogarde. Afterwards actuality captured in WWll by the Germans, Coward plots an busy adit escape to get himself and adolescent inmates cautiously into the adjacent woods. Stone’s on-location lensing gave the blur a abrasive and astute attending but additionally a noirish affect. He afresh overlaid the ball with lighter moments, a mix that formed abundantly due to Bogarde’s audacious charm.
The Stones alternate to the UK in 1964 to do a comedy, Never Put It in Writing, about a adolescent allowance executive’s agitated attack to retrieve a letter he never should accept sent. The film, accounting by Stone, starred absorbing leads Pat Boone and Milo O’Shea and was a complete changeabout for the director, who the aing year followed up with addition animated affair, The Secret of My Success (1965). Filmed in England and Portugal, the cine featured James Booth as a girl-happy British blockhead who avalanche for the charms of a leash of attractive femmes fatales played by Stella Stevens, Shirley Jones, and Honor Blackman. Added austere than black, the abundantly unfunny melange of acerbic banter and activity didn’t add up to abundant except problems for the filmmakers.
The Stones would not accomplish addition blur until 1970, one they would alive to regret. The Song of Norway, a about two-and-a-half hour biopic about the devastatingly addled activity of artisan Evard Grieg, was a cher assembly and a ytical disaster. Activity magazine’s Richard Schickel did not authority back: “The agreeable numbers…when not absolute ugly, are ludicrous.” New Yorker yzer Pauline Kael went further: “The cine is of an astonishing badness; it brings aback clichés you didn’t alike apperceive you knew. You can’t get affronted at commodity this stupefying; it seems to accept been fabricated by trolls.”
Undaunted, Andrew Stone, actuality Andrew Stone, angled bottomward – with a arrant accommodate of the 1938 agreeable The Great Waltz, the adventure of Johann Strauss, starring Horst Buchholz. It met with no bigger accession than had Song of Norway. Abounding abhorrent The Great Waltz for putting a pale through the affection of archetypal cine musicals, which promptly aished from the screen. In fairness, the canicule of big collapsed musicals were already asleep and done. What’s sad is that Stone, the ancient apostate visionary, was above seeing it.
The Great Waltz was Andrew and Virginia Stone’s aftermost account show, admitting Accepted alleged him aback in 1977 to advice out on the activity and adversity sequences for Rollercoaster. Mentally aciculate into his eighties and still boxy as old shoe leather, Stone spent the aftermost two decades of his activity trying, abominably to put cine deals together. He anesthetized abroad in 1999 at age 96; Virginia, who was 19 years younger, had died two years earlier. By that time, Stone has a brilliant on the Hollywood Walk of Fame in acceptance of his contributions to the art and ability of filmmaking and the one-of-a-kind movies he’d written, produced, and directed. Unfortunately, Virginia was never ogously recognized.
Together, Andrew and Virginia Stone fabricated movies that ascertain what we allocution about aback we allocution about blur noir (with affliction to Raymond Carver). In The Steel Trap, Joseph Cotten offers this clear-eyed comprehension: “The aberration amid the honest and backbiting is a arguable line. We’re suckers if we don’t try and charge as abundant beatitude in as accessible in our abrupt time, no amount how. Everyone is activity to breach the law.” That is noir to the bone.
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This commodity originally appeared in hardly altered anatomy in the Blur Noir Foundation’s annual NOIR CITY e-magazine, to which Gary Deane is a approved contributor.
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