Richard Chatten The most valuable asset to an ambitious young filmmaker of the 21st Century would probably be a time machine capable of returning you to the year 1960. Clocking in at just 77 minutes but seeming much longer, 'Blast of Silence' is further evidence that in those days it would have taken genius for an independent filmmaker NOT to create a classic city 'noir'. Just make sure there's film in your camera and take your pick from all the breathtaking compositions - complete with vintage cars and sharply dressed passers-by - constantly forming around you; even Michael Winner couldn't fail to turn in a black & white urban gem three years later with 'West 11' (1963).It certainly anticipates Jean-Pierre Melville's 'Le Samourai' (1967) - but then so do Kubrick's 'Killer's Kiss' (1955) and Robert Wise's 'Odds Against Tomorrow' (1959) - and plenty have been seduced by 'Blast of Silence's aura of monochrome period cool into extravagantly overpraising it. Allen Baron's inexpressive performance as hit-man Frankie Bono (he resembles a young George C. Scott) certainly provides a perfect blank slate on which to inscribe any profundities or angst that grab you. In his capacity as writer-director Baron at some point late in production evidently felt the need to do just that, calling upon two eminent blacklistees whose services at the time would have been available at an affordable price. The insistent narration reminiscent of Mark Hellinger's in 'The Naked City' was written under the pseudonym Mel Davenport by Waldo Salt (who later won Academy Awards for 'Midnight Cowboy' and 'Coming Home'), while the rasping voice of Lionel Stander is uncredited but unmistakable on the soundtrack, providing the glue which with Merrill Brody's photography holds the film together. Unfortunately much of what Stander keeps telling us on the soundtrack doesn't really need to be spelled out so relentlessly; while Meyer Kupferman's jazz score is extremely effective in moderation, but gets very noisy in places.SPOILERS COMING: Despite supposedly being such a pro, Frankie Bono's murder of Big Ralph (played by Larry Tucker, who I recognised from Sam Fuller's 'Shock Corridor') is remarkably amateurishly executed, his long-anticipated hit of Troiano no big deal, and he proves remarkably easy to ambush at the film's conclusion.

Dalbert Pringle Though far from being great and containing way-way too much voice-over narration for its own good (as you'll find out for yourself), this grungy, low-budget Crime/Drama from 1961 (featuring one of the blandest protagonists imaginable) is still well-worth a view for anyone who can appreciate this particular genre of film.Though Blast Of Silence (BOS) is not quite what I would consider to be true "Film Noir", its grubby, greasy, cynical, little story about thugs, ruffians and lowlifes certainly had its fair share of entertaining moments.Set in NYC (just a day or 2 before Christmas), I guarantee you that BOS's black-hearted story will not, in any way, put you into the yuletide spirit. But, its up-tempo jazz score (which was pretty cool) may help to alleviate some of the story's more depressing moments.And, hey, if you're looking for some comedy relief - BOS actually does offer the viewer just that (unintentionally, of course).There's one episode where Frankie Bono viciously attacks the obese Ralphie with an axe. And this alone is certainly worthy of a couple of laughs.But BOS's ultimate comedy gem was when Frankie (who's attending a festive Christmas party) gets down on his hands and knees beside his opponent and at the word "Go!" these 2 fools vie to win the peanut-pushing race using only their noses to nudge the peanut along. (Yep. 'Tis the season to be jolly!?) Anyways - BOS's story concerns the callously-minded activities of Frankie Bono, an emotionally dead (well, almost) hired killer from Cleveland who has come to NYC to fulfill his contract obligations to rub out an arrogant, second-fiddle crime-boss named Troiano. As expected, when Frankie's comfortably numb "cool" gets seriously rattled, things tend not to go as originally planned.Filmed in stark b&w, BOS had a mere running time of only 77 minutes. You may find, like I did, that this film's story bared a lot of similarities to Scorsese's "Taxi Driver" from 1976.

runamokprods This film bridges the gap between classic 50s noir, and the more complex, improvisational dark NYC films to come, first by Cassavettes, and then by Scorsese. Very reminiscent of, if not as psychologically complex, surreal, and twisted as, the writings of Jim Thompson. A hit man from Cleveland comes to New York for one last job. The film uses 2nd person narration – 'You feel this', or 'You sense danger'. It's an interesting technique I can't remember encountering in a movie before, which plays with your head in a good way. Who's narrating the film? Obviously the 'you' is the main character, but by subtle implication it makes US him. The narration was written under a pseudonym by the great blacklisted writer Waldo Salt. Beautiful, stark and depressing photography – which I guess describes the film as a whole as well.A couple of terrific, odd supporting characters add to the nightmare atmosphere. While some of the acting is variable, and a few twists are too telegraphed, this is a film that has stuck with me.

fredmelden-1 I find it hard to believe that this was seriously considered at Cannes in 1961, and praised at the Munich Festival in 1987. Let me list a few of its flaws, and giving a wide allowance for the fact that it was an independent film. First, the quality of the video is poor; for an indie, that's probably expectable. Second, the music is heavy and awful - probably cliché even for 1961. Further, the music often adds nothing to a scene, and frequently feels totally out of pace with it. For example, why would it have the kind of music it uses to accompany the stalking of the victim? Third, The walking scenes are far too long, especially those where no stalking is occurring. We see Bono just walking and walking and... We see this at night and in the daytime, and frankly, posing the 'city as a character' doesn't justify it. The director/writer takes no pains to actually explore the city AS a character; he merely displays it, and that is something quite different. Fourth, this is heavily narrated. Narration is normally considered a weakness, a crutch used when the action and dialog do not do their job of fully conveying the what and why of the story - a perfect description in this case. Fifth, the actor displays almost no emotion. Of course, one could say this is congruent with the character - a hit man. However, the narration establishes the 'fact' that Bono gets himself worked up into a hate for his victim. If that's his M.O., it should show on the screen. It absolutely does not, but his bad acting does. Sixth, he fights Big Ralph in an apartment, and in the process pretty much tears the place up. Surprisingly, no neighbors come out to see what's happening. It may be a minor point, but there are several such that destroy the film's credibility. Seventh, so does the silencer. He fires the gun and it makes a fairly loud sound, despite the silencer. Eighth, (going back to Ralph), it's unlikely he would threaten to rat on - of all people - a hit man! 'If I hear he dies, I'll know you killed him, and I'll tell on you, unless you pay me.' Uh, huh. Ninth, the contractor gives Bono half the money and promises the rest later. You don't have to be a mafioso to know it's never done that way. I don't know that it was EVER done that way, but certainly not in 1961. Just a plot device? Maybe, but a pretty weak one. Tenth, the movie is a short hour-and-a-quarter. Perhaps I should consider this a plus! I could go on, but I'm tired of writing, and these cover the main problems. Even allowing for the low budget, this is a poor film. Hearing that he was considered back then a new-generation Orson Welles is ridiculous. Welles might have considered Baron as a gaffer, but little more. As a TV director or producer, he may have been adequate, but not as a movie director or screenwriter.