Traces Gun Crazy's roots in the rain-slicked, night-time world of noir, and in the postwar American society that gave birth to it. This book teases out the effects of the Production Code, and the contributions of director Joseph H Lewis, writers MacKinlay Kantor and the blacklisted Dalton Trumbo, and stars, Peggy Cummins and John Dall.
JIM KITSES has taught film in England, Canada and his native USA. An expanded edition of Horizons West, his pioneering text in Western and genre studies, was published by BFI in 2004. He has also co-edited The Western Reader (Limelight Editions: New York, 1998), contributed a study of the film noir classic Gun Crazy (BFI, 1996) and authored the commentary for the DVD of 7 Men From Now, the first acclaimed cycle of Budd Boetticher-directed Westerns.
They wouldn’t release a movie called Gun Crazy now, can you imagine. They were a little nervous about the title back in 1950 too and it was originally released as Deadly is the Female
before they thought nahhh. Gun Crazy is way better.
I was very late in becoming a fan of film noir, the la di dah name put me off, plus a lot of the great ones are hard to find. Here’s my current list of favourite film noirs :
1. You Only Live Once 2. Dead End 3. They Drive by Night 4. High Sierra 5. This Gun for Hire 6. Detour 7. The Killers 8. Out of the Past 9. Crossfire 10. Kiss of Death 11. The Naked City 12. Pitfall 13. Cry of the City 14. Act of Violence 15. Call Northside 777 16. Side Street 17. They Live by Night 18. The Reckless Moment 19. Criss Cross 20. Night and the City 21. Where the Sidewalk Ends 22. In a Lonely Place 23. Gun Crazy 24. On Dangerous Ground 25. Pickup on South Street 26. The Big Heat 27. Crime Wave 28. 99 River Street 29. Kiss me Deadly 30. The Desperate Hours
In film school I had the pleasure of taking Kitses' class and he introduced me to Gun Crazy. We read the book for class and I enjoyed both his book and the film.
Best of this series that I've encountered so far. There's no critical ax to grind here -- the context is broadly, but concretely drawn and the examples are on point, so his arguments never seems forced.
This is the third volume in the BFI Film Classics series that I have read--The Big Sleep and Detour are the others--and it is by far the best. These books are really long essays, and in the available space, Jim Kitses' treatment of Gun Crazy gives you exactly what it should: he places the film in its context, both in terms of the history of the United States and the history of cinema; he gives ample background on the writing and production of the film; he gives a thorough, informed analysis of the film itself; and he makes a provocative argument for the film's importance. Well done.