Owen Phillips’s Reviews > Dark City Dames: The Women Who Defined Film Noir (Revised and Expanded Edition) > Status Update

These aren’t as compelling. Cutting down the page count even further for people who frankly made less of an impact seems needless. Give them their own book if they deserve it.

You know, it’s easy to talk about Republicanism and misogyny and conservatism as they change and as they affect people, but it’s so rare that we allow ourselves the truly stark examples. We’ve come such a long way that it’s gone into shadows and games, systems set up to hide the rigging, but for some of them, for Audrey Totter, it was second nature, assumed, moral.

I like this section quite more than the first. It’s more focused more directed, you don’t feel so much the loss of what you’re missing. A good pulling back of the Hollywood veneer. Here is the principal wood. Here is the sunshine on someone who survived

Okay, let’s get depressing

It’s interesting to see the wya this book reflects the fictional and biographical upon one another. While focusing on these minor stars of the noir genre, you see their puppet strings pulled by these high powered men fueled by cash and lust, enacting revenge and holding grudges as they lord their power over these women. Life reflecting art, art reflecting life

There’s a lot here to consider about gender and time, but mostly I keep thinking about how there’s no glossary in this book and I’m going to have to go back through to remember every movie he mentions. There’s no bib either which irks me!