> Kiss Me,
> Deadly is the futile resistance of the
apocalyptic
> future and The Long Goodbye is the surrendering to
a
> disordered immoral future. Two faces on the sides of
a
> rusty slug. That's why they're really good films.
Not
> because they're noir but because they're
not.
>
since my definition of noir is a philosophical one rather
than a stylistic one, similar to Jack Bludis' "screwed", your
description of both films places them solidly into that big,
black abyss
John Lau
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