#over-exposed

[mudwerks]

(via Film Noir Photos: Reflections: Cleo Moore)

on the set of Over-Exposed (1956)

[oakendesk]

painting - pin-up - circa 1956

Joyce Ballantyne

movie poster - Over-Exposed - Mar 1956

Manfredo Acerbo

[mattelier]

...so this is what happens when you try out for the first time a new, used camera added to your collection - a kodak 35b. the film rewind knob worked for about half of the first roll, then - nothing - just spinning and spinning not taking up the film - so i had to open the back and slide the film back into the can with a thumb. but lo and behold - it began to catch on its own again! i was able to salvage about 20 shots from the roll {see the first one posted here} - and i'm just about finished with a second roll. we’ll see if the same issue arises with the film rewind - hope not - i'll keep you-all posted...kodak 35b, fuji superia 400, hand-held, no filter.

[faintquiverings]

Cleo Moore in a promotional photo for Over-Exposed, 1956

[musicandoldmovies]

Richard Crenna and Cleo Moore in Over-Exposed

[letterboxd-loggd]

Over-Exposed (1956) Lewis Seiler

May 25th 2024

[sow-hat1960]

Cleo Moore (°October 31, 1924 - October 25, 1973)

With Raymond Greenleaf in Over-Exposed

[lifejustgotawkward]

365 Day Movie Challenge (2019) - #136: Over-Exposed (1956) - dir. Lewis Seiler

On the same disc as the 1955 drama Women’s Prison in Sony’s “Bad Girls of Film Noir Volume II“ box set, there is another film directed by Lewis Seiler, Over-Exposed. Neither feature is a true noir, but they contain pronounced elements of the genre. In this case, there are shady underworld crimes conducted by a city’s mob, characters who are tempted by the lure of money and material possessions and an upstanding reporter who uncovers more than he bargained for while chasing after headlines.

I’ve seen many noir-esque dramas in my time, but one in which the main character is a photographer who uses both her camera skills and her beauty to climb the social ladder and make connections with wealthy nightclub patrons, is new to me. Cleo Moore personifies this queen of snapshots, Lila Crane, with requisite charm and likeability, if not exactly Oscar-worthy acting prowess. (For what it’s worth, Lila is not a “bad girl” but rather a woman who is caught between her desires for professional success/respectability and glamorous luxury.) Her love interest, newspaperman Russell Bassett, is well-played by a young Richard Crenna, while Lila’s mentor in the art of understanding lens apertures and lighting is portrayed by underrated character actor Raymond Greenleaf. Strangely, though, Constance Towers appears to be mistakenly listed in the film’s IMDb credits since I didn’t see her anywhere.