A Woman Scorned by James Heneghan

By James Heneghan

Vancouver urban councilor George Hamilton Nash has left his spouse of two decades and moved right into a posh West finish apartment. A filthy rich guy approximately city, Nash seems to be having fun with all of the pleasures town has to offer—until he turns up useless. The word left in the back of shows suicide, and the police are happy with this. yet Sebastian Casey, a reporter for the West finish Clarion who knew whatever of Nash's acceptance as a lady's guy, isn't so yes. He doesn't purchase suicide and units out to turn out differently, amidst hassle in his personal dating, and without scarcity of suspects, together with the spouse left at the back of. The holiday Casey wishes comes from a very unlikely resource.

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No doubt implicated in thi s e vo lu tio n is the double co nstra in t of budget restrictions (tlje cine m a too is su b­ jected to a wartime economy during hos­ tilities) and e n closu r e within the studio, whi ch would indicate as a n indirect co nseq u e nce that the breadth of sp ace a t th e beginnin g of the 1930s is a remnant of the silent film in the sound era. There is a third differen ce that is easily noted , even if it is not e n tirely sp ecific to The Big Gamble (Fred Noble , RKO , 1931) The Penguin Pool Murder (George Archainbaud , RKO,1932) Follow Me Quietly (Richard 0.

StiIl, if the context of 24 c f F a II C \01 II C. F f( n FILM NOIR ON THE EDGE OF DOOM 1946-55 in France ca n explain the crea tio n o f the term 'fiLm nair', it is astonishing that it has lasted and that it has regularly been reviv ed and renewed by su cceeding ge ne ra­ tion s, until now and the present volume. Beyond th e questions examined in th e precedin g paragraphs , what sp ecifically cinematographic elements have we found in American detective films of the 1940s and 1950s? The re spo nse ma y reside precisely in the conjunction o f bla ck and whit e with the stud io production system .

Alan SihT I' and Eliza be th Wa r d . cds .. Film Noir (Lo ndon : Se ck el' a nd Wa rb u r g . I ~l H ()) ; Foster I Iirsch . Film Xo ir; n il' lrark Sid e of t/II' SrT/'I ' 1I (Sa n Diego : A. S. Ba rn es. El HI); Ro be rt O ttoson . A R ei eren rc (;" id,. u takes the greates t cri tica l di sl:lIIu' from traditional d efini tio ns. ~, (i, Ra ym ond Borde a nd I::tie n ne C ha u mc io n . Punorama duiih« uoir am eri cain (Pa r is : Lex Ed itio ns de Miu ui t, 1955 ), I l itrhoxk, as is wel l kn own .

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