Gun Crazy

Gun Crazy

Blu-ray Disc - 2018
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When gun fancier Bart Tare sees Annie Laurie Starr's sideshow sharpshooting act, he's a dead-bang goner. He and she go together, as Bart ultimately says, 'like guns and ammunition.' The two become bank robbers on the run, eluding roadblocks and roaring into movie history as one of the benchmark film-noir works.
Publisher: Burbank, CA : Warner Bros. Home Entertainment, [2018]
Branch Call Number: DVD GUN CRA
Characteristics: 1 videodisc (87 min.) : sound, black & white ; 4 3/4 in.
digital,optical,mono,DTS-HD Master audio 2.0,rda
video file,Blu-ray,region A,rda


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Apr 26, 2019

Solid performances, great camera work and directing and a fast pace add up to one of the most accessible film noir entries. Watch for the bank heist: filmed in one long, uninterrupted take. It starts with John Dall's character saying he hopes they find a parking space. Highly recommended.

Dec 05, 2018

Yep. He's crazy. She's crazy. Crazy. Crazy. Crazy. And, when it comes to the likes of firearms, they're both a couple of thrill-crazy, kill-crazy, gun crazies.

This low-budget, stylistic film stars 2 unknown leads (Peggy Cummins and John Dall) as a pair of crazy, itchy-fingered criminals on a frantic cross-country run from the law.

As sociopathic as a duo could possibly get back in a 1940's film, characters Annie Starr and Bart Tare accidentally meet up one day and 'before-you-know-it' go on the ultimate date of a life-time. Their un-Cinderella like romance includes a crazy, high-energy robbery/shooting spree that, once the law catches up with them, inevitably leads to their sensationalized deaths.

Aug 20, 2018

This movie is quite enjoyable - it still entertaining after over half a century. The story really keeps rolling along, and the plot is mainly driven as the film progresses by the main characters and their relationship. Its ending is rather moralizing and tragic. The music is rather laughable at times, which, if it were meant in a satirical way would be good (as in the film 'A Colt Is My Passport'), but its meant seriously and comes off as like canned laughter often does.

plotline Mar 26, 2016

Low-Rent Production; High Quality Noir

From a budgetary standpoint, director Joseph H. Lewis was leaning more toward Edgar G. Ulmer and his poverty row B-movies (DETOUR, 1946), and away from the A-list stylings of Billy Wilder (DOUBLE INDEMNITY,1944), Edward Dmytryk (MURDER,MY SWEET, 1944), or Howard Hawks (THE BIG SLEEP, 1946).

There was also the matter of timing. While all of the aforementioned classic noirs appeared at the genre's peak, the mid-forties, Lewis came in on the wane with GUN CRAZY ('49) and a while later with THE BIG COMBO ('55).

Still, the short money and late arrival didn't hamper the creation of excellent work. GUN CRAZY isn't flawless. It suffers from a split stylization wherein the standard but very fine in-studio work never truly blends with the refreshing on-location shots. The film also drags out some very unconvincing dime-store psychoanalysis in the opening scenes, attempting to explain away Bart Tare's firearm obsession in open court: "He always loved guns, your honor. But he don't like killin' things."

With the highly adaptable help of cinematographer Russell Harlan, Lewis keeps the film on an even keel. Creatively, Lewis appears to have been more inventive outdoors- the point of view shot from inside the crime car as it prowls a small town's streets is still quite radical.
John Dall (THE CORN IS GREEN; SPARTACUS), who never really seemed at ease before the camera, gives a fairly relaxed performance here. But Dall and the entire film gets an enormous boost the second Peggy Cummins enters the frame (see her in NIGHT OF THE DEMON). As Laurie Starr she is spunky and unapologetic. With her high, glowing forehead, and wide, pouty mouth, Cummins dominates the film, thrusting her brazen portrayal of a status-seeking sociopath run amok right in your face.

The director turns on the artistry in the final scene: trapped in a fogbound swamp, the mud-splattered fugitives lay in wait, whispering hopefully to each other, as the law closes in.
Noirs to see: DOUBLE INDEMNITY (1944); MURDER, MY SWEET (1944); THE BIG SLEEP (1946); THE ASPHALT JUNGLE (1950); RIFIFI (1952); TOUCH OF EVIL (1958).

Dec 05, 2015

I don't know why they changed the original title, "Deadly Is The Female", because that was a helluva lot more appropriate, and summed things up in a nutshell for this one. Pint-sized Peggy Cummins was nihilistic, narcissistic, and lusting for the blood of anyone with the sad misfortune of gettin' in her way. The authentic camera work while driving caught my attention even before I looked up the details involved in filming it on IMDb. An excellent noir.

Nov 29, 2015

Bang-Bang. Shoot-Shoot.

Released in 1949 - Gun Crazy (a.k.a. Deadly Is The Female) is the "Bonnie and Clyde" story retooled for the disillusioned postwar generation. This flick is considered by many movie-connoisseurs to be the ultimate B-Movie Extraordinaire - Where shades of Film Noir abound like fireflies.

Gun Crazy's fast-paced story is jet-propelled along by numerous stick-ups, a dominant femme fatale, an erotic love/obsession for guns, and a deadly sexual attraction between two trigger-happy sharp-shooters who quite willingly substitute violent gun-play for sex.

Jul 18, 2015

Film noir masterpiece. Creative, outrageous and a lot of fun.
Femme fatale Peggy Cummins is brilliant.

Jul 06, 2015

Nothing captures America’s preoccupation with sex, power, and violence quite like this stylish noir about two zealous firearms enthusiasts shootin’ and smoochin’ their way across the land in what amounts to NRA pistol porn. Penned anonymously by blacklisted writer Dalton Trumbo, this quintessential film noir revels in elaborately staged B&W cinematography and tense, wholly believable dialogue delivered by stars Peggy Cummins and John Dall as if they were actually living their parts. Hyper realistic at times (most of the road scenes were filmed in a real car with either Cummins or Dall at the wheel and one bank heist was so true to life it had an unwitting bystander screaming for the police) yet ending on a surreal note that borders on gothic horror, "Gun Crazy" is a sobering fairy tale in which nary a word or camera shot is wasted. Riddled with bullets and steeped in suspense (not to mention a bit of muted eroticism), this is one B-movie that scores an A+.

Apr 03, 2015

Pretty good vintage film noir flick. Sideshow trick marksman & marks-woman team-up for a cross country crime spree.

Froster Nov 29, 2014

It's astonishing how at the right time, in the right place, with the right director, and the right cast....what could have been sub-par reaches the sublime. "Gun Crazy", even more than it's most-often mentioned counterpart, "Detour", is a diamond-hard masterpiece. And both hinge on the ferocious, almost deranged performances by their leading ladies. Even if this film had not been as technically adept as it is (and it is a marvel), Peggy Cummins' performance would stand out--inviting comparison to those by Mary Astor, Ann Savage, Barbara Stanwyck, Ella Raines and Jane Greer, in similar noir classics. But she is really something special: the performance is literally scary as she plays every note of fear, obsession, dependence, defensiveness, horniness, scorn, and self-loathing (and sometimes all of them at the same time). And her performance is only one of the reasons to rejoice, here. The film is a must-see.

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