32-484: (Redirected from Late Show ) The Late Show may refer to: Film [ edit ] The Late Show (film) , a 1977 film Late Show , a 1999 German film by director Helmut Dietl Music [ edit ] The Late Show (Eddie "Lockjaw" Davis album) , a 1961 live album by jazz saxophonists Eddie "Lockjaw" Davis and Johnny Griffin The Late Show (Son of
64-430: A 1992–1993 Australian sketch comedy television series The Late Show (franchise) , an American television late-night talk show franchise broadcast on CBS since 1993, that includes: Late Show with David Letterman (1993–2015) The Late Show with Stephen Colbert (2015–present) " Late Show (Space Ghost Coast to Coast) ", a 1996 episode of Space Ghost Coast to Coast "The Late Show" ( Modern Family ) ,
96-557: A 2013 (season 5) episode of the American sitcom Modern Family The Late Show with Ewen Cameron , a 2016 Scottish talk show television programme Other uses [ edit ] The Late Show (radio program) , a 2008–2011 Canadian radio documentary program The Late Show (novel) , a 2017 book by Michael Connelly See also [ edit ] Late Night (disambiguation) The Late Late Show (disambiguation) The Late Shift (disambiguation) Topics referred to by
128-597: A difficult situation and making choices out of desperation or nihilistic moral systems . Visual elements included low-key lighting , striking use of light and shadow , and unusual camera placement. Sound effects helped create the noir mood of paranoia and nostalgia. Few major films in the classic film noir genre have been made since the early 1960s. These films usually incorporated both thematic and visual elements reminiscent of film noir . Both classic and neo-noir films are often produced as independent features . After 1970, film critics took note of "neo-noir" films as
160-586: A genuine throwback to Hollywood's best efforts." He ranked the film second (behind only Annie Hall ) on his year-end list of the best films of 1977. Charles Champlin of the Los Angeles Times called the film "an artful and affectionate original, lively and enjoyable on its own self-sufficient terms, which catches the spirit and reflects the structure of the previous private eye pleasures." Gary Arnold of The Washington Post called it "a modestly conceived but surprisingly satisfying entertainment,
192-402: A mutual acquaintance, Charlie Hatter. Margo asks Ira to locate her stolen cat Winston. Later that day, Charlie tells Ira that Harry was on the case to find Margo's cat and was then murdered. Ira visits Margo at her residence; there, she tells that Brian Hemphill had hired her to transport merchandise to Bakersfield for him, but on the last run, she stole the money; in retaliation, Brian kidnapped
224-430: A private-eye melodrama that looks and sounds up-to-date while respecting the traditions and conventions of the genre." Louise Sweet of The Monthly Film Bulletin was negative, calling the film a "wrongheaded attempt at nostalgic recreation" with Tomlin miscast in "a stereotyped role" and Benton directing at "a sluggish, almost geriatric pace." An appreciation of the film was penned by Doug Krentzlin in 2014, who called
256-606: A separate genre. Noir and post-noir terminology (such as " hard-boiled ", "neo-classic" and the like) are often rejected by both critics and practitioners. Robert Arnett stated, "Neo-noir has become so amorphous as a genre/movement, any film featuring a detective or crime qualifies." Screenwriter and director Larry Gross identifies Jean-Luc Godard 's Alphaville , alongside John Boorman 's Point Blank (1967) and Robert Altman 's The Long Goodbye (1973), based on Raymond Chandler 's 1953 novel, as neo-noir films. Gross believes that they deviate from classic noir in having more of
288-475: A shadowy cinematographic style. Neo-noir has a similar style but with updated themes, content, style, and visual elements. The neologism neo-noir, using the Greek prefix for the word new , is defined by Mark Conard as "any film coming after the classic noir period that contains noir themes and noir sensibility". Another definition describes it as later noir that often synthesizes diverse genres while foregrounding
320-466: A sociological than a psychological focus. Neo noir features characters who commit violent crimes, but without the motivations and narrative patterns found in film noir . Neo noir assumed global character and impact when filmmakers began drawing elements from films in the global market. For instance, Quentin Tarantino 's works have been influenced by Ringo Lam 's 1987 classic City on Fire . This
352-744: A solidly savory neo-noir treat." The film received many award nominations, several for Benton's screenplay. Carney's performance won him the National Society of Film Critics Award for Best Actor . Tomlin's performance was nominated for the BAFTA Award and the Golden Globe Award , and she won the Silver Bear for Best Actress at the 27th Berlin International Film Festival. The film was nominated for
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#1732765857515384-404: A thriller, exactly. It's a one-of-a-kind movie—a love-hate poem to sleaziness." Variety declared that Benton "has given Carney and Tomlin the freedom to create two extremely sympathetic characters. Both performances are knockout and should draw solid notices for this little-ballyhooed pic. Distrib Warner Bros. may just have a sleeper on its hands." Vincent Canby of The New York Times called
416-551: A vehicle they believe she escaped in. A car chase ensues through a neighborhood, which ends with the car crashing into another vehicle. On an adrenaline rush, Margo wants to enter the private detective profession, and theorizes that Laura was having an affair with Mr. Whiting. Ira returns to Birdwell's residence, in which Birdwell reveals that Mrs. Whiting had called him to have the affair stopped. Birdwell then has Whiting threatened but not killed. At an adult theater , Birdwell and Lamar ask Charlie to retrieve Escobar's revolver used in
448-495: Is Earl Hampton. Shortly after, Charlie reveals that Escobar is hiding in Santa Monica and that Birdwell's wife Laura was having an extramarital affair. Ira and Margo drive down to Escobar's residence, where Margo finds her cat but Laura holds Ira at gunpoint. Laura relents, to which she states that Escobar had blackmailed her. Moments later, Margo finds Escobar's body inside a refrigerator, but Laura escapes. Ira and Margo follow
480-409: Is considered to be one of the defining authors of hard-boiled fiction. Both novels were adapted as crime films, the former more than once. Cain is quoted as saying, "I belong to no school, hard-boiled or otherwise, and I believe these so-called schools exist mainly in the imagination of critics, and have little correspondence in reality anywhere else." Neo-noir film directors refer to 'classic noir' in
512-445: Is different from Wikidata All article disambiguation pages All disambiguation pages The Late Show (film) The Late Show is a 1977 American neo-noir mystery film written and directed by Robert Benton and produced by Robert Altman . It stars Art Carney , Lily Tomlin , Bill Macy , Eugene Roche , and Joanna Cassidy . A drama with a few comic moments, the story follows an aging detective trying to solve
544-788: The Golden Bear at the Berlin Film Festival. Benton's screenplay was nominated for the Writers Guild of America Award (Best Drama Written Directly for the Screen) and for the Academy Award for Best Original Screenplay . Benton won the award for Best Motion Picture Screenplay at the Edgar Awards . The film was the inspiration for the short-lived US television series Eye to Eye (1985). The Late Show
576-609: The Velvet Rat album) , a 2018 live album by Son of the Velvet Rat Television [ edit ] The Late Show (1957 TV series) , a 1957–1959 Australian television variety show The Late Show (1986 talk show) , a 1986–1988 American late-night talk show hosted by Joan Rivers, Arsenio Hall and Ross Shafer that aired on Fox The Late Show (British TV programme) , a 1989–1995 British television arts magazine programme The Late Show (1992 TV series) ,
608-408: The case of his partner's murder while dealing with a flamboyant new client. Benton was nominated for the Academy Award for Best Original Screenplay in 1977 . Ira Wells, an aging Los Angeles private detective, is writing his memoir at his boarding house. One night, his ex-partner Harry Regan appears mortally wounded and dies shortly after. At Harry's funeral, Ira is introduced to Margo Sperling by
640-442: The cat. Ira says the next time Brian calls, she should set up a meeting. Margo and Charlie arrive at Ira's house and tell him that Brian is after him. A man shows up outside, and another man shoots him. The man then shoots at the home before fleeing in his car, but Harry carefully hits one of the tires. The car explodes into flames, but the shooter escapes. Back at his house, Ira demands that Charlie hand over whatever he removed from
672-547: The corpse in the yard. It is a collector's book of postage stamps stolen during a robbery, in which Walter Whiting's wife was murdered. Charlie confesses that Harry had seen the robbery while he was trailing Brian, and he and Harry were planning to split the $ 15,000 reward. Margo then tells that Brian and his friend Ray Escobar were making deals with a fence named Ron Birdwell. When Ira visits Birdwell's residence, his bodyguard Lamar violently searches him and takes him to see Birdwell. There, Birdwell tells him that Brian's real name
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#1732765857515704-533: The film "a funny, tightly constructed, knowledgeable, affectionate rave that all of us can share." Roger Ebert gave the film a four-stating rating in his Chicago Sun-Times review: "And most of all, it's a movie that dares a lot, pulls off most of it, and entertains us without insulting our intelligence." Gene Siskel of the Chicago Tribune also gave the film four out of four stars, calling it "a marvelous comedy" and "an old-style film full of character,
736-459: The film "a unique, one-of-a-kind film that lived up to its advertising tagline 'The nicest, warmest, funniest, and most touching movie you'll ever see about blackmail, mystery, and murder.'" The Late Show has a 95% rating at Rotten Tomatoes , based on 40 reviews. The consensus summarizes: "Deft direction from Robert Benton and a perfect pair in Art Carney and Lily Tomlin make The Late Show
768-479: The film. While Benton had co-authored screenplays for several films, he was the sole author for The Late Show , which was also only the second film that Benton directed. Production began in spring of 1976 and wrapped in November. Lou Lombardo, who had a long relationship with Altman and edited several of Altman's films in the 1970s, edited along with Peter Appleton. Ruth Nelson , playing the landlady Mrs. Schmidt,
800-400: The murder. Ira and Margo's relationship begin to bond, but when he returns home, he finds Laura there. She reveals that she had given Whiting her gun to protect himself, which Escobar blackmailed her with. Ira and Laura then head over to Whiting's residence where they find him murdered. Laura then reveals the truth. Meanwhile, Charlie, Birdwell, and Lamar arrive at Margo's apartment and ask for
832-430: The revolver and wants to force Birdwell to pay. However, a gunfight ensues, killing Birdwell and Lamar and wounding Charlie. Ira has the police called, but Charlie dies. Following Charlie's funeral, Ira and Margo wait at a bus stop. Ira's landlady has asked him to leave, to which Ira decides to move in with Margo. In early 1976, Robert Benton brought his script to Robert Altman who, after reading it, decided to produce
864-492: The revolver, which Margo has in her possession. Ira phones Margo, concluding Birdwell had murdered Harry, and arrives at her apartment. There, Ira deduces Laura killed Mrs. Whiting and then called Brian to move the body back to the Whiting house. The stamp robbery was intended to throw the police off the trail. Escobar had the gun, and Lamar killed him. Mr. Whiting wanted to go the police so Laura killed him. Charlie then grabs
896-423: The same term [REDACTED] This disambiguation page lists articles associated with the title The Late Show . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Late_Show&oldid=1256862656 " Category : Disambiguation pages Hidden categories: Short description
928-598: The scaffolding of film noir . " Film noir " was coined by critic Nino Frank in 1946 and popularized by French critics Raymond Borde and Etienne Chaumeton in 1955. The term revived in general use beginning in the 1980s, with a revival of the style. The classic film noir era is usually dated from the early 1940s to the late 1950s. The films were often adaptations of American crime novels, which were also described as " hardboiled ". Some authors resisted these terms. For example, James M. Cain , author of The Postman Always Rings Twice (1934) and Double Indemnity (1944),
960-431: The use of Dutch angles , interplay of light and shadows, unbalanced framing ; blurring of the lines between good and bad and right and wrong , and thematic motifs including revenge , paranoia , and alienation . Typically American crime dramas or psychological thrillers , films noir had common themes and plot devices, and many distinctive visual elements. Characters were often conflicted antiheroes , trapped in
992-468: Was a founder of the Group Theatre . It was her first film role since Arch of Triumph in 1948. Pauline Kael wrote: " The Late Show never lets up; the editing is by Lou Lombardo (who has often worked with Robert Altman) and Peter Appleton, and I can't think of a thriller from the forties that is as tight as this, or has such sustained tension... The Late Show is fast and exciting, but it isn't
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1024-712: Was released as a zone 1 DVD in 2004. It previously had been released as a VHS tape. Neo-noir Neo-noir is a film genre that adapts the visual style and themes of 1940s and 1950s American film noir for contemporary audiences, often with more graphic depictions of violence and sexuality. During the late 1970s and the early 1980s, the term "neo-noir" surged in popularity, fueled by movies such as Sydney Pollack 's Absence of Malice , Brian De Palma 's Blow Out , and Martin Scorsese 's After Hours . The French term film noir translates literally to English as "black film", indicating sinister stories often presented in
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