Hello, my name is Justin the Klu, and I'm here today with Will Sloan,

and you're listening to The Important Cinema Club.

And today we are talking the master of noir and more Anthony Mann.

We return to a comfortable and familiar territory for this podcast, a studio director

from the Golden Age of Hollywood who specialized in genres that are critically unheralded in their

own country, but who the French critics and the crazed oturists and the Mani Farber and

Andrew Saris type critics crowned an otur.

Now, why does this guy get to be an otor? Is it just because his movies are good? Yes,

but it's also because he worked in genres like westerns. He mastered the noir. And most importantly,

early on in his career, he worked with very meager resources. And from that,

that is what people looking for otters are going to grasp onto. He's best remembered for the

10 westerns he made between 1950 and 1958, including Man of the West with Gary Cooper,

The Furious with Barbara Stanwick, and a number with

Jimmy Stewart, including Winchester 73, The Naked Spur, and the man from Laramie.

He wasn't exactly a B movie director.

No. He started that way. He started as a B movie director, even like a C movie director.

But he worked with big stars on studio budgets throughout the 50s, but he made

commercial films in popular genres. So I guess he would be considered a sort of a minus director.

He liked to say that he was a worker. That's how he approached these projects. The best kind of

directors say that. But he was also very passionate about the work that he did. And when we

talk about his biography, I think it's clear why he was that way, because he came into making

films kind of organically through the theater scene. And that he was also someone that would be

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