Though Archie Mayo’s Moontide can never quite decide if it wants to be a sudsy melodrama or a nightmare noir, the violent mixing of these volatile elements in this tale of two damaged people finding each other in all those shadows and fog churned out something truly fantastic that you really need to see.
Other Points of Interest:
This post is part of my rehash and continuation of the For the Love of Film Noir Blogathon originally held back in February of 2011. Thus and so, we will be heading down the rain-soaked streets and neon-drenched back alleys of Noirville again for the entire month of March. And along with all the old material migrating over from the old site, we’ll also be scattering around a lot of new stuff as well. Also of note, we’ll be posting them in chronological order to show how the genre evolved and progressed from the 1940′s through the late ’50s. And as an added bonus, I’ll be posting some vintage adverts to stuff I’ve always associated with the genre — cigarettes, booze and fashionable ladies.
Moontide (1942) Twentieth Century Fox Film Corporation / P: Mark Hellinger / D: Archie Mayo / W: Nunnally Johnson, John O’Hara, Willard Robertson (novel) / C: Charles G. Clarke, Lucien Ballard / E: William Reynolds / M: David Buttolph, Cyril J. Mockridge / S: Jean Gabin, Ida Lupino, Thomas Mitchell, Claude Rains, Victor Sen Yung