A murder victim who is found with something such as a blanket covering their face or pulled up over their body often reflects a sense of guilt or remorse in the killer.

Albert DeSalvo’s “The Boston Strangler” seventh victim, Patricia Bissette was found lying face up on her bed, her legs together and covered by a bedspread snugly drawn up to her chin. Later DeSalvo said:

“She was different, I didn’t want to see her like that, naked and… She talked to me like a man, she treated me like a man.”


NOIR CITY: Seattle Starts Friday, July 22 at the Egyptian Theatre!

NOIR CITY returns to Seattle July 22 through 28 to a new home at the historic SIFF Cinema Egyptian with an 18 film lineup, programmed and hosted by FNF president Eddie Muller, a.k.a. the “Czar of Noir.” The latest edition of NOIR CITY: Seattle is subtitled “Film Noir: A to B” and comprises nine double bills that present a chronological excursion through the classic noir era, with themed pairs of “A” and “B” titles playing together.

The paring includes some seemingly unlikely match-ups, for example, the homo-erotic color noir, Desert Fury and the classic thriller Sorry, Wrong Number on July 26. What the connection? Legendary costume designer, and winner of eight Oscars, Edith Head, created the wardrobes for both films. In addition to the double bill, Seattle author Renee Patrick will be signing copies of her new novel Design for Dying, in which Head helps solve a murder in 1930s Hollywood. Here’s a little insider knowledge, Renee Patrick is a pseudonym for the husband and wife writing team of Rosemarie and Vince Keenan, long time NOIR CITY e-magazine contributors.

On July 27, the FNF-funded 35mm restoration of Woman on the Run (1950), a once-lost title recently celebrated at screenings in San Francisco, Manhattan, Paris, and Bologna, plays with Max Ophüls’ transcendent noir melodrama The Reckless Moment, an excellent adaption of Elisabeth Sanxay Holding’s novel The Blank Wall. The festival will close with another 1950 classic, Joseph H. Lewis’ extraordinary examination of l'amour fou, Gun Crazy.  Muller will be on site to sign copies of his latest book, Gun Crazy: The Origin of American Outlaw Cinema, an in-depth examination of the film’s creation and influence. A FNF-funded preservation, Southside 1-1000 follows Gun Crazy.

Presented by the Seattle International Film Festival in partnership with the Film Noir Foundation. Visit SIFF’s website to see the full schedule and to purchase individual tickets and passes.


Based on Robert Sheckley’s 1953 short story the “Seventh Victim"—included in Store of the Worlds: The Stories of Robert Sheckley,—Elio Petri's The 10th Victim is a psychedelic trip to the future where civilization’s strategy to end wars is a legalized, cathartic "Big Hunt”, where two strangers are designated “hunter” or “victim” and then have to kill or be killed. Marcello Mastroianni with bleach, cropped hair (it’s the future!) is victim and Ursula Andress with bullet-shooting bra and back-less dresses is the hunter. Need I say more? Scenes not to miss: Andress shooting someone with her bra (in fact, all the outfits);  Mastroianni bringing Andress over to his ex-wife’s house, only to be interrupted by both his ex-wife and his current lover; the two of them wrestling in the Roman Forum; and the list goes on. Highly recommended, both the Sheckley book and the movie.

anonymous asked:

do you know any movies that are kind of like Possession and Rosemary's Baby? Thanks <3

all the colors of the dark, the seventh victim and house of the devil are all great to pretty good satanic cult films and i haven’t gotten around to watching it yet but i definitely remember hearing that the perfume of the lady in black is meant to be in the same vein as rosemary’s baby :~)