Patrick wrote:
> Kevin, you mean you don't see the noir side of BUS
STOP? Let's see, we have a saloon
dancer caging fake drinks from unsuspecting customers, an
ultra macho cowboy who won't take no for an answer, a local
cafe with implied extra curricular activities, and the dance
hall girl and cowboy go off together in the end... happily
ever after? You think? There's humor in most of Jim Thompson
and Elmore Leonard, too, but that doesn't make them any less
noir. You have to read into the subtext of BUS STOP to reach
its cold gray underbelly.
Seems like an awful lot of work to make your still negligible
case. You like the film -- I get that. But don't try to make
it something it isn't.
And is your so-called underbelly really all that cold and
gray, or just soft and white? It's a romantic comedy, fer
cryin' out loud.
Now, has anyone seen THE BREAKING POINT, a film that might
actually qualify as hard-boiled and/or noir?
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