Tipping My Fedora

29. Film Noir Fest 2025, with James Harrison

James Harrison of Film Noir UK joins Sergio to preview the 2025 Film Noir Fest, which is taking place from 31 October to 2 November at the Plaza Cinema in Weston-Super-Mare. This year's theme is heist movies and highlights include screenings of:

Kubrick's KILLER'S KISS (1955) and THE KILLING (1956), Huston's THE ASPHALT JUNGLE (1950), Siodmak's CRISS CROSS (1949), Dassin's RIFIFI (1955) and Tarantino's RESERVOIR DOGS (1992).  

There is also a retrospective dedicated to crime films starring Ida Lupino, including HIGH SIERRA (1941), ROAD HOUSE (1948), ON DANGEROUS GROUND (1951), BEWARE, MY LOVELY (1952) and WHILE THE CITY SLEEPS (1956). In addition there will be a silent Heritage Noir double bill with a live score by Neil Brand and screenings of British thrillers courtesy of Talking Pictures TV / Renown.

For full details about the festival and tickets, visit the homepage of Film Noir UK: https://ti.to/film-noir-uk/filmnoirfest2025

 

28. HIGH AND LOW (1963), with Aidan Brack

Sergio is joined by blogger Aidan Brack, of Mysteries Ahoy, for an in-depth look at Akira Kurosawa's classic 1963 suspense thriller, High and Low. This seems like the perfect time to look back at the film with the release of Spike Lee's remake, Highest 2 Lowest, starring Denzel Washington.

Adapted from King's Ransom - the tenth volume in Ed McBain's series of police procedurals featuring the cops of the 87th Precinct - Sergio and Aidan look at the original book, its 1962 American TV adaptation and Kurosawa's extraordinary film version. 

Aidan Brack is a public librarian with a love of mystery fiction. He started his blog, Mysteries Ahoy! in late 2017 as a way to connect with other fans of mysteries and to catalogue his experiences with the genre. Since then, he has shared his thoughts on over 600 books, 100 film and television productions, as well as the occasional radio drama. His father is crime novelist, Graham Brack.

Aidan enjoys reading and writing about many different types of mystery fiction, including works in translation. He has a particular interest in inverted mysteries - stories in which the culprit's identity is known to the reader from near the start.

You can find his writing at www.mysteriesahoy.com

For more info on author Graham Brack, visit: https://grahambrackauthor.com/

To watch the 1962 TV version of King's Ransom, visit: www.youtube.com/watch?v=_5sTB0_UyEc

 

 

27. Film Noir scepticism (part 2), with Sheldon Hall

Following on from the first part last week, Sergio and Sheldon Hall reunite for a second bout of Film Noir scepticism. How well does Sergio stand up to Sheldon's stinging and relentless criticism?

The genres being considered include Westerns, Horror, Science Fiction and the work of Alfred Hitchcock. 

To listen to the first part of the podcast, visit:

• Apple buff.ly/wDl4xnB
• Spotify buff.ly/34bRrLu
• YouTube buff.ly/QyLHaCo

The titles being considered, in chronological order, include:

THE SEVENTH VICTIM (Robson, 1944)

WHISPERING SMITH (Fenton, 1948)

ROPE (Hitchcock, 1948)

WINCHESTER 73 (Mann, 1950)

INVASION OF THE BODY SNATCHERS (Siegel, 1956)

VERTIGO (Hitchcock, 1958)

Sheldon Hall is an Emeritus Fellow at Sheffield Hallam University, UK. A former film journalist and lecturer, he is the author of Zulu: With Some Guts Behind It (2005/2014) and Armchair Cinema: A History of Feature Films on British Television, 1929-1981 (2024), co-author of Epics, Spectacles, and Blockbusters: A Hollywood History (2010), and co-editor of Widescreen Worldwide (2010) and Film Critics and British Film Culture: New Shots in the Dark (2025). In addition, he has contributed chapters and articles on British and American film history to numerous books and journals and interviews to many Blu-ray special editions of films including, most recently, Sirk in Germany (1934-35), The Lives of a Bengal Lancer (1935), Black Tuesday (1954), H.M.S. Defiant (1962) and Juggernaut (1974)

 

26. Film Noir scepticism (part 1), with Sheldon Hall

At the beginning of every podcast, Sergio asks his guests to give their definition of Film Noir, a notoriously difficult assignment. This week, in the first of a two-part episode, Dr Sheldon Hall, long-time friend to Sergio and the podcast, picks holes in the host's own attempts to define the term. 

They consider two genres, screwball comedy and the gangster movie, and look to see how well they overlap with Film Noir, along with the 1931 version version of The Maltese Falcon, starring Ricardo Cortez as Sam Spade.

The films under discussions, in chronological order, include the following:

UNDERWORLD (Von Sternberg, 1927)

THE MALTESE FALCON (Del Ruth, 1931)

TWO SECONDS (Le Roy, 1932)

THE MIRACLE OF MORGAN'S CREEK (Sturges, 1944)

WONDER MAN (Humberstone, 1945) 

Sheldon Hall is an Emeritus Fellow at Sheffield Hallam University, UK. A former film journalist and lecturer, he is the author of Zulu: With Some Guts Behind It (2005/2014) and Armchair Cinema: A History of Feature Films on British Television, 1929-1981 (2024), co-author of Epics, Spectacles, and Blockbusters: A Hollywood History (2010), and co-editor of Widescreen Worldwide (2010) and Film Critics and British Film Culture: New Shots in the Dark (2025). In addition, he has contributed chapters and articles on British and American film history to numerous books and journals and interviews to many Blu-ray special editions of films including, most recently, Sirk in Germany (1934-35), The Lives of a Bengal Lancer (1935), Black Tuesday (1954), H.M.S. Defiant (1962) and Juggernaut (1974).

Next week, in part 2 of our conversation, we look at Western, Horror, Science Fiction, and Hitchcock varieties of Film Noir. 

25. WHO FRAMED ROGER RABBIT (1988), with Simon Brown

The 1988 live action and animation hybrid, Who Framed Roger Rabbit, can certainly lay claim to being the most unusual Film Noir yet featured on Tipping My Fedora. A 1940s murder mystery set in a parallel universe in which humans and cartoons co-exist, it was a huge gamble for the studio and its director, Robert Zemeckis, hot off the success of the first Back to the Future movie. The gamble paid off however, both critically and at the box office, but how well does its technical wizardry stand up today?

Joining me to discuss this highly unusual Neo-Noir is my very good friend Simon Brown, an independent scholar who specialises in early film history, horror, adaptation studies and film technology.

He is the author of Cecil Hepworth and the Rise of The British Film Industry (Uni of Exeter Press, 2016) and Screening Stephen King: Adaptation and the Horror Genre in Film and Television (uni of Texas Press, 2018). He is currently working on a book about director Robert Zemeckis.

24. David Shire's Noir Film Music (1974-76), with John Leman Riley

The great film composer and songwriter David Shire turns 88 today. To celebrate, I am joined by film music historian John Leman Riley to look at some of Shire's classic 1970s Neo-Noir music scores, including:

THE TAKING OF PELHAM ONE TWO THREE (Sargent, 1974)

THE CONVERSATION (Coppola, 1974)

FAREWELL, MY LOVELY (Richards, 1975)

ALL THE PRESIDENT'S MEN (Pakula, 1976)

For more information about the life and work of David Shire, please visit his homepage at: http://davidshiremusic.com/

John Leman Riley’s career has embraced photography, librarianship, archiving, teaching and lecturing, academic writing and editing, as well as journalism, reviewing, exhibition catalogues, CD and DVD notes and the like. Often focusing on film and film music, classical music, and Eastern European culture, he has been published by Cambridge, Oxford and Edinburgh University Presses, Routledge, Greenwood, BFI, Rough Guides and others.

Highlights include Dmitri Shostakovich: a Life in Film (Tauris), Discover Film Music (Naxos) for which he curated two accompanying CDs of excerpts, Sound at the Film Society, (“The Sound of the Silents in Britain”, OUP), Keeping the Icons on the Wall: Shostakovich’s Cinema and Concert Music (“Dmitrij Šostakovič tra Musica, Letteratura e Cinema”, Leo S Olschki), Soviet Cinema: Between Art and Propaganda (Cité de la Musique, Paris, and Caja Madrid), Stalin (and Lenin) at the Movies (“Contemplating Shostakovich: Life Music and Film”, Ashgate), and Live Cinema: Silent Film, Orchestral Accompaniment and the Special Event (“Archival Film Festivals”, Edinburgh UP).

He regularly writes for and is Reviews Editor of the DSCH Journal (www.dschjournal.com) and was the English Language editor for Apparatus Journal (https://www.apparatusjournal.net/index.php/apparatus).

In From the Woods to the Cosmos, on the Severin BluRay release of Viy, he discusses Russian and Soviet horror and sci-fi cinema.

Commissioned by the South Bank Centre, he wrote, produced and directed Shostakovich: My Life in Film, telling the story of the composer’s film career with an orchestra playing the scores to film clips. Shostakovich was played by Simon Russell-Beale in London and, at the Komische Oper, Berlin, by Ulrich Matthes (Goebbels in Der Untergang).

He writes at https://johnlemanriley.substack.com/

23. Neo-Noir Film Music, with John Leman Riley

Film and music historian John Leman Riley is back and joins me for a discussion of some of the great Neo-Noir scores composed by Ennio Morricone, Michael Small and Jerry Goldsmith.

In this episode we focus on four great films and their soundtracks:

THE SICILIAN CLAN (Verneuil, 1969) - music by Ennio Morricone

THE BIRD WITH THE CRYSTAL PLUMAGE (Argento, 1970) - music by Ennio Morricone

KLUTE (Pakula, 1971) - music by Michael Small

CHINATOWN (Polanski, 1974) - music by Jerry Goldsmith

 

John’s career has embraced photography, librarianship, archiving, teaching and lecturing, academic writing and editing, as well as journalism, reviewing, exhibition catalogues, CD and DVD notes and the like. Often focusing on film and film music, classical music, and Eastern European culture, he has been published by Cambridge, Oxford and Edinburgh University Presses, Routledge, Greenwood, BFI, Rough Guides and others.

Highlights include Dmitri Shostakovich: a Life in Film (Tauris), Discover Film Music (Naxos) for which he curated two accompanying CDs of excerpts, Sound at the Film Society, (“The Sound of the Silents in Britain”, OUP), Keeping the Icons on the Wall: Shostakovich’s Cinema and Concert Music (“Dmitrij Šostakovič tra Musica, Letteratura e Cinema”, Leo S Olschki), Soviet Cinema: Between Art and Propaganda (Cité de la Musique, Paris, and Caja Madrid), Stalin (and Lenin) at the Movies (“Contemplating Shostakovich: Life Music and Film”, Ashgate), and Live Cinema: Silent Film, Orchestral Accompaniment and the Special Event (“Archival Film Festivals”, Edinburgh UP).

He regularly writes for and is Reviews Editor of the DSCH Journal (www.dschjournal.com) and was the English Language editor for Apparatus Journal (https://www.apparatusjournal.net/index.php/apparatus).

In From the Woods to the Cosmos, on the Severin BluRay release of Viy, he discusses Russian and Soviet horror and sci-fi cinema.

Commissioned by the South Bank Centre, he wrote, produced and directed Shostakovich: My Life in Film, telling the story of the composer’s film career with an orchestra playing the scores to film clips. Shostakovich was played by Simon Russell-Beale in London and, at the Komische Oper, Berlin, by Ulrich Matthes (Goebbels in Der Untergang).

He writes at https://johnlemanriley.substack.com/

 

22. Hitchcock Noir: REBECCA (1940) and SHADOW OF A DOUBT (1943), with Brad Friedman

Sergio is joined today by podcast buddy Brad Friedman to discuss two of Alfred Hitchcock's first engagements with American Film Noir: the Gothic romance Rebecca (1940) and the dark small-town psycho-thriller, Shadow of a Doubt (1943).   

Brad blogs about Golden Age mystery books and movies at Ah Sweet Mystery: https://ahsweetmystery.com/

Spoiler alert: the plots for both these films, including their respective endings, are explored in great detail.