PDB: Can you pitch A Comprehensive Encyclopedia of Film Noir: The Definitive Reference Guide in 25 words or less?
Nope. I can’t. I’ve tried and I’ve tried and I’ve . . . But I’ll see if I can at least keep this short. My latest book, published in October, is called A Comprehensive Encyclopedia of Film Noir: The Essential Reference Guide. It contains entries on about 3,250 movies, covering roughly a century of moviemaking, from the earliest protonoirs to recent neonoirs, drawn from all over the world.
As a sort of annex to the encyclopedia I’ve created the website Noirish, which is devoted to more expansive entries on a sort of ragbag of movies that are (generally) way out on noir’s fringes — too far out to have made it into the encyclopedia.
PDB: Which music, books, films or television shows have floated your boat recently?
The most recent piece of music to have bowled me over is Tubin’s Symphony #6. For the past few years I’ve been on a classical jag, although playing rock CDs occasionally. Among the latter, Vienna Teng’s Inland Territory stands out in my memory. Another to get played pretty frequently is Earth Opera’s self-titled album — which I bought way-back-when on vinyl, when it (ahem) first came out, and now listen to on CD.
I don’t watch TV much. I guess the last TV show I really liked was the first season of Sherlock. I wasn’t so enthralled by the second, but am hotly waiting for the third to reach these shores.
Books? I recently read Tara French’s The Likeness and loved it: a truly amazing piece of work, and bugger its occasional detractors. Rees Morgan’s The Freshour Cyclinders was good too. I’m currently enjoying the much more light-hearted Swing, by Rupert Holmes.
And movies. Friends – like Sam Juliano at Wonders in the Dark – have recently been talking about their Top Ten Movies lists for 2013. I don’t go in much for that sort of thing — if ever I try to make a Top Ten it ends up being a Top Sixty-Seven, and then I immediately change my mind about what should be in it! And, of course, by far the majority of movies that I watch are old ones, sometimes decades old. But my friends’ list-making activities got me to thinking about which were the movies I’d most enjoyed among the relatively few 2013 movies I saw. Of those, two stood out for me: Robert Redford’s The Company You Keep and Zal Batmanglij’s & Brit Marling’s The East. They have oddly similar themes, both being about radicalization and the difficulties of doing something to change a manifestly unjust, often brutal society without being demonized.
PDB: Is it possible for a writer to be an objective reader?
I think so — in fact, I think writers may be better objective readers than most. I certainly hope so, because I’ve done a lot of book reviewing in my time! (Indeed, there’s even an ebook of my reviews: Warm Words and Otherwise, published by Infinity Plus Books.)
To finish the interview, go to Paul’s blog!
Featuring rumpled PIs, shyster lawyers, corrupt politicians, double-crossers, femmes fatales, and, of course, losers who find themselves down on their luck yet again, film noir is a perennially popular cinematic genre. This extensive encyclopedia describes movies from noir’s earliest days – and even before, looking at some of noir’s ancestors in US and European cinema – as well as noir’s more recent offshoots, from neonoirs to erotic thrillers. Entries are arranged alphabetically, covering movies from all over the world – from every continent save Antarctica – with briefer details provided for several hundred additional movies within those entries. A copious appendix contains filmographies of prominent directors, actors, and writers.
With coverage of blockbusters and program fillers from Going Straight (US 1916) to Broken City (US 2013) via Nora Inu (Japan 1949), O Anthropos tou Trainou (Greece 1958), El Less Wal Kilab (Egypt 1962), Reportaje a la Muerte (Peru 1993), Zift (Bulgaria 2008), and thousands more, A Comprehensive Encyclopedia of Film Noir is an engrossing and essential reference work that should be on the shelves of every cinephile.