Largely shot in a spacious, multi-floor cafe with warm but muted tones, Coffee Noir: Black Brown is an elegant production throughout, despite its low budget.
Entertaining and relevant, he has his cake and eats it too, at least until we dive into a bleaker second half that doesn’t give its protagonists an easy out as they are forced to confront the reality of their situation. But a direct approach isn’t always the most effective route and director Jang wrings buckets of wry commentary out of his fantastical concept. Korean filmmakers, particularly in the indie scene, tend to have a lot to say and the further we move away from the darker times of the republic, the more direct they have become in their depictions of what they see as the ills running through society.
Despite the prying eyes of local inspectors and pressure from a decaf monopoly, she keeps the shop open: teashop by day, java speakeasy by night. This delightful and odd prohibition drama is grounded by Jo Soo-hyang, whose performance remains unwavering, even when some of the story threads around her don’t quite mesh.Ĭoffeshop manager Ju-won runs a tight ship and is revered by her staff but their lives are about to change as a new law coming into effect which will outlaw coffee in Korea. Korean indie Coffee Noir: Black Brown, the third film from emerging talent Jang Hyun-sang, which premiered last month in competition at Bucheon, delivers on all three counts. In early 2012, artist Jonas Never painted "Touch of Venice," a 102-by-50-foot mural on the east side of the Samesun that commemorates Welles’ iconic 1958 filming.An intriguing concept can be enough to pull you into a film but what keeps you there is a sense of purpose and steadfast execution. Touch of Evil’s famous opening sequence, which was shot in one long continuous take, was filmed in the streets and alleys surrounding the Samesun, though the area has changed considerably in the ensuing years and is largely unrecognizable from its on-screen stint. Originally built in 1904, the neo-Italianate columned structure was formerly known as the St. That building is no longer standing but the neighboring property, from which Susan is spied upon, remains intact and is now a hostel known as Samesun Venice Beach. In the dark tale of a narcotics officer’s honeymoon gone wrong, newlyweds Susan (Janet Leigh) and Mike Vargas (Charlton Heston) vacation at the St. Orson Welles’ 1958 film noir Touch of Evil was largely shot on location in Venice Beach, which masked as the fictional border town of Los Robles.
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DeMille, I’m ready for my close-up” brings luck in the movie industry. Legend has it that rubbing one’s hands on the gate while uttering Norma’s famous line, “All right Mr. The iconic site can be viewed, though, by embarking on a tour of the historic studio. Paramount Pictures expanded its studio space in the late 80s and early 90s, annexed Marathon Street which used to run in front of it, and acquired several acres of land, resulting in the Bronson Gate now being located within the walls of the lot. When Norma arrives at the gate, a guard tries to bar her entrance, to which she says, “Without me, there wouldn’t be any Paramount Studio!” Though many fans mistakenly snap photographs of the Melrose Gate that now stands at the lot’s entrance, in actuality it was the Bronson Gate, which formerly marked the front of the property, where Norma admonished the guard. In a last ditch effort to save her career, Norma heads to Paramount Pictures to speak with Cecil B. showcases the pitfalls of Hollywood fame through the eyes of faded silent film star Norma Desmond (Gloria Swanson). Kildaire.īilly Wilder’s 1950 film noir classic Sunset Blvd.
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The same building, which houses production offices in real life, also masked as Blair General Hospital in the 1960s television series Dr.
Fans can catch a glimpse of it by taking the Sony Pictures Studio Tour, or from outside the gates on Culver Boulevard near where it intersects La Salle Avenue. Much of the MGM backlot was sold off in the 70s, but thankfully, the Art Deco-style Thalberg Building, which was built in 1938, still stands. At the time of filming, the 185-acre studio belonged to Metro-Goldwyn-Mayer. The rear side of the Irving Thalberg Building at Sony Pictures Studios was used as the exterior of the hospital in the movie. After their first attempt fails, Nick winds up in Blair General Hospital. Who can forget the iconic image of a turbaned Lana Turner donning a white crop top and shorts while fiddling with a tube of lipstick at the beginning of The Postman Always Rings Twice? Frank Chambers (John Garfield) and Lana’s sultry Cora Smith plot to kill Cora’s husband, Nick (Cecil Kellaway), in the 1946 film.
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