A (Black) Gat in the Hand: A Terrific Little Noir – After Dark My Sweet
“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.”
— Phillip Marlowe in Raymond Chandler’s The Big Sleep
1990 was quite the year for hardboiled and Noir on the big screen. Pacific Heights (Michael Keaton) came in as the 41st highest grossing movie of the year, with Revenge (based on the novella from the uber-talented James Harrison) was 83rd. Those are both solid Noirs.
At 107th was The Two Jakes – the long-delayed sequel to Chinatown. At 109th was Miami Blues, with Fred Ward as Charles Willeford’s Hoke Mosely. I’ve read the books several times, but not seen the movie.
The 135th highest grossing movie is probably second only to The Maltese Falcon in the harboiled genre for me. It’s the Coen Brothers’ Miller’s Crossing. Starring the tastefully-last named Gabriel Byrne! At 155th is a remake of a Bogart flick, Desperate Hours. Mickey Rourke delivered a pretty good Noir.
But today, I want to talk a bit about a little gem that was pretty much overlooked and landed at 157th: After Dark, My Sweet. Sadly, it failed to earn back even half of it’s approximately $6.5 million budget. But this is a wonderful adaptation of Jim Thompson’s novel.
It starts with director and co-writer James Foley, who has a mixed resume. He directed Sean Penn (married to Madonna at the time) in the very good Noir, At Close Range. He got the gig because he was producing Madonna’s videos. Sadly, the next movie he directed was Who’s That Girl. That’s the kind of thing that can end a career.
Foley wanted to make a small film, his choice, his way. It strikes me as washing a bad taste out of his mouth. And he went to his love of Noir. I’m telling you, there needs to be more movies like After Dark My Sweet. It’s a little less than two hours of bleak, compelling, Noir.










