Marlowe returns: da “Murder, My Sweet” a “Farewell, My Lovely” by Adriano Piccardi

“…Dick Richards’s “Farewell My Lovely” (1975) is a remake of – but not only – Edward Dmytryk’s film, “Murder, My Sweet” (1944). This essay explores the dialogue between Richards’s film and two texts, as well as between classical and modern cinema. …”
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Notorious: Hitchcock’s good neighbor film Notorious: Hitchcock’s good neighbor film by Arlindo Castro

“…If they happened to go to Radio City Music Hall, Notorious would reassure them that the U.S. was doing well in preventing obstinate Nazis from making an atomic bomb, though at that moment of the nuclear espionage war, former Manhattan Project insider Klaus Fuchs had actually passed on to a Soviet contact in London classified information about the Manhattan Project and American atomic plans.2 Indeed, in that transitional period between World War II and
 the Cold War, the major political villains were still Nazis, not
 Communists, as exemplified by other 1946 films like Orson Welles’ The Stranger, Charles Vidor’s Gilda, and Edward Dmytryk’s Cornered.…”
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D’un genre cinématographique à l’autre : trois adaptations en westerns dans le cinéma américain d’après 1945 by Mathieu Lacoue-Labarthe

“…Between 1949 and 1954, three movies directed by Raoul Walsh and Joseph Mankiewicz are adapted into westerns by Walsh and Edward Dmytryk. In some respects, these movies are simply transposed from one genre to the other, with great fidelity. …”
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Notorious: Hitchcock’s good neighbor film by Arlindo Castro

“…If they happened to go to Radio City Music Hall, Notorious would reassure them that the U.S. was doing well in preventing obstinate Nazis from making an atomic bomb, though at that moment of the nuclear espionage war, former Manhattan Project insider Klaus Fuchs had actually passed on to a Soviet contact in London classified information about the Manhattan Project and American atomic plans.2 Indeed, in that transitional period between World War II and the Cold War, the major political villains were still Nazis, not Communists, as exemplified by other 1946 films like Orson Welles’ The Stranger, Charles Vidor’s Gilda, and Edward Dmytryk’s Cornered.…”
Get full text