Blast Of Silence (1961)
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"Blast Of Silence" (1961) (Allen Baron)
Legendary, existential "late" independant noir from Allen Baron with impossibly hard-boiled narration by Lionel Stander.
1961 / 77mins. / Original Aspect Ratio / Color / USA
Picture Quality: B
Should be a cult classic, 5 August 2005
Legendary, existential "late" independant noir from Allen Baron with impossibly hard-boiled narration by Lionel Stander.
1961 / 77mins. / Original Aspect Ratio / Color / USA
Picture Quality: B
Should be a cult classic, 5 August 2005
Five stars
Author: TimothyFarrell from Worcester, MA
Its not technically perfect, but this film remains one of my favorites. Definitely something with plenty of re watching value. You think the classics of Hollywood Noir where pessimistic and hard-hitting? This makes many of those films look light. There is no major studio interference or traditional Hollywood happy ending. There aren't any attractive people or even likable characters. This is just raw and pessimistic film-making. There is little or no plot, just an outline that connects various events in a week of a hit-man. The film is obviously very low budget, but that doesn't matter too much. It adds to the darkness, and the minimalism. This isn't flashy Michael Bay type film-making. This is one of the darkest and most misanthropic films ever made. It also is one of the most memorable.
The film centers around Frankie Bono, a well paid hit-man who is known for his efficiency. He is hired to kill a mob kingpin on Christmas day, and it seems like it will be a very simple job to follow through on. However, he gets sidetracked when he meets up with an old friend from the orphanage and his sister who he still has feelings for. Bono is an interesting if not completely well-developed character. He is pessimistic and feels no need for others, as they only seem to be out to get him as the narrator describes. One of the reasons he is more human than many other protagonists of low-budget noir is the narrator. The hard-hitting narration (provided by Lionel Strander, who remains uncredited but has a recognizably unique voice) acts as sort of a conscience for Bono. This is both a plus and a detraction for the film. The scenes with the narration is obviously due to lack of a budget to afford sound film. The narrator provides background on Bono, and describes his feelings. It may have been better if they had dialog instead to show the feelings of the character. I can't hold it too much against the filmmaker though, because like I stated above this is a very low-budget film, and post-dubbing is always destructing.
Bono is the closest to a well-developed character. The girl who he still has feelings for, Lorrie, is a stereotype, but the filmmaker obviously wants her to be more interesting, so it isn't for lack of trying. Big Ralph is appropriately slimy, and is an all around unappealing and sleazy character, who certainly gets what is coming to him in one of the most impressive death scenes ever caught on film. Luckilly since Bono is the most interesting character, the film centers entirely on him. As far as I can recall, there isn't a single scene where he isn't in it. This is definitely a character study, albeit a crude one.
What makes the film so great? The fact of how unique it is. It's all Allen Baron's show (he directed, wrote, and starred in it), and he equips himself well in all areas. Unlike many other Hollywood versions of Film Noir, these are people you'd run into in the street. The film is gritty beyond belief, and there is a sense of hopelessness throughout the entire thing, unlike the more higher budgeted crime films. It is far from the most technically impressive crime films such as "Touch of Evil" or "Kiss Me Deadly", but is in many ways a perfect textbook example of how noir should be made. Sleazy, irredeemable yet oddly compelling characters, and a depressing atmosphere. From the beginning you know there is no way there can be a happy ending for this film. It sticks in your memory and the lack of finance adds to the atmosphere. The camera-work is very impressive (and you even get to see some vintage footage of early 60s New York).
This is a film awaiting rediscovery, and if the midnight movie circuit had survived, this may have secured a spot on the roster of cult classics. Unfortunately, due to a perceived lack of interest, no major studio feels like releasing a DVD of this impressive film, so the bootlegs are the only ways to see it. The boots are easy to locate from several popular retailers of odd and unusual lost films, and are in overall good quality. Despite the high price of the copies, they are certainly worth the purchase for fans of film noir. This is one of the most hard-hitting noirs I have ever seen, and I highly recommend it. (8/10)
Author: TimothyFarrell from Worcester, MA
Its not technically perfect, but this film remains one of my favorites. Definitely something with plenty of re watching value. You think the classics of Hollywood Noir where pessimistic and hard-hitting? This makes many of those films look light. There is no major studio interference or traditional Hollywood happy ending. There aren't any attractive people or even likable characters. This is just raw and pessimistic film-making. There is little or no plot, just an outline that connects various events in a week of a hit-man. The film is obviously very low budget, but that doesn't matter too much. It adds to the darkness, and the minimalism. This isn't flashy Michael Bay type film-making. This is one of the darkest and most misanthropic films ever made. It also is one of the most memorable.
The film centers around Frankie Bono, a well paid hit-man who is known for his efficiency. He is hired to kill a mob kingpin on Christmas day, and it seems like it will be a very simple job to follow through on. However, he gets sidetracked when he meets up with an old friend from the orphanage and his sister who he still has feelings for. Bono is an interesting if not completely well-developed character. He is pessimistic and feels no need for others, as they only seem to be out to get him as the narrator describes. One of the reasons he is more human than many other protagonists of low-budget noir is the narrator. The hard-hitting narration (provided by Lionel Strander, who remains uncredited but has a recognizably unique voice) acts as sort of a conscience for Bono. This is both a plus and a detraction for the film. The scenes with the narration is obviously due to lack of a budget to afford sound film. The narrator provides background on Bono, and describes his feelings. It may have been better if they had dialog instead to show the feelings of the character. I can't hold it too much against the filmmaker though, because like I stated above this is a very low-budget film, and post-dubbing is always destructing.
Bono is the closest to a well-developed character. The girl who he still has feelings for, Lorrie, is a stereotype, but the filmmaker obviously wants her to be more interesting, so it isn't for lack of trying. Big Ralph is appropriately slimy, and is an all around unappealing and sleazy character, who certainly gets what is coming to him in one of the most impressive death scenes ever caught on film. Luckilly since Bono is the most interesting character, the film centers entirely on him. As far as I can recall, there isn't a single scene where he isn't in it. This is definitely a character study, albeit a crude one.
What makes the film so great? The fact of how unique it is. It's all Allen Baron's show (he directed, wrote, and starred in it), and he equips himself well in all areas. Unlike many other Hollywood versions of Film Noir, these are people you'd run into in the street. The film is gritty beyond belief, and there is a sense of hopelessness throughout the entire thing, unlike the more higher budgeted crime films. It is far from the most technically impressive crime films such as "Touch of Evil" or "Kiss Me Deadly", but is in many ways a perfect textbook example of how noir should be made. Sleazy, irredeemable yet oddly compelling characters, and a depressing atmosphere. From the beginning you know there is no way there can be a happy ending for this film. It sticks in your memory and the lack of finance adds to the atmosphere. The camera-work is very impressive (and you even get to see some vintage footage of early 60s New York).
This is a film awaiting rediscovery, and if the midnight movie circuit had survived, this may have secured a spot on the roster of cult classics. Unfortunately, due to a perceived lack of interest, no major studio feels like releasing a DVD of this impressive film, so the bootlegs are the only ways to see it. The boots are easy to locate from several popular retailers of odd and unusual lost films, and are in overall good quality. Despite the high price of the copies, they are certainly worth the purchase for fans of film noir. This is one of the most hard-hitting noirs I have ever seen, and I highly recommend it. (8/10)
