#sidney falco

[chillentertainer]

starving works, heaven dust, another, anyhow, i've got a match, smoke gets in your eyes by @lesbiancolumbo

[nigesakis]

Sweet Smell of Success (1957)

[susiehunsecker-remade]

marry me - st vincent + sweet smell of success

[full-lifeconsequences]

i can't stop watching this movie sorry

[slithy-t0ves]

i want whatever gender sidney falco and juno steel have got going on

[rinbylin]

"You think I'm a hero. Well, I'm no hero."

SIDNEY FALCO + dog motifs | SWEET SMELL OF SUCCESS (1957)

[fagrackham]

loneliest boy in the world but at least theres substance abuse and old movies

[firstaidspray]

Sidney and Lydia at some event. Thinking about how much they love each other (and, for Sidney, free shrimp too 🍤🍤🍤)

[nigesakis]

sidney definitely thought he was gonna get the boning of a lifetime when he was making himself pretty in front of jj's door at the end of ssos

[makarovni]

WIP WEDNESDAY!!!!

Tagged by @adelaidedrubman to inflict one of my WIPs upon the world. This one's from my Veep fic of my oc Lydia and "the devil in human form" minor character Sidney Purcell, who I unfortunately really love. So woe, oc x obscure canon be upon ye!!

It was late morning when Lydia woke, being the first of the two to do so. At first, she was temporarily shocked by her own nudity and then by Sidney's mere presence. But the memories of the previous night returned quickly, as she looked at the floor, where all their discarded clothing was in disarray. 

Lydia tried to sit up a little bit, but as he had the entire night, Sidney was gripping her tight in his arms. His face was nestled in the back of her head, buried by dark red waves. Although she'd just met him, it felt so right. This man was meant to be holding her, both of them nude, in the aftermath of a night in a hotel room, his snoring being the only sound and the sun filtering through curtains being the only light. 

But was it really right? Or was it Lydia latching onto the first man who'd asked her to his room since she'd begun working at the hotel?

Assuming she could lean over to the nightstand to grab her bottled water, Lydia shifted, but this woke Sidney. He inhaled sharply and sat up on his elbow, blinking his eyes a few times before focusing on her. 

"Good morning, angel," he said softly yet somewhat sarcastically, voice scratchy with sleep. 

Lydia immediately felt embarrassed and yanked the covers over herself, peeking over them just to see Sidney. He was smiling a lazy smile at her, eyes half lidded, curled hair an absolute mess despite how short it was. She was momentarily shaken from her shame, admiring just how perfect he looked to her. It was somehow like looking at someone she'd known and loved for years.

"M-morning," Lydia replied nervously. "Do…do you want me to go?"

Sidney scoffed and shifted to sit up. "Why? Are you sick of me already?"

"N-no!! No!! Absolutely not, I just…" She stumbled over her words.

"I get it," he said with a smirk, "this is your first time staying the night with someone, isn't it? Don't worry. I'm not gonna kick you to the curb just because we fucked already." 

Lydia knit her eyebrows and proceeded to lie. "No, it's not my first time…most guys, they...they tell you to go home in the morning. They don't want breakfast or to talk or anything."

Sidney shrugged. "I can say I've done that to some people before, but not you. God, there's something about you, I don't ever want you to leave. And that's not normally like me."

Not knowing whether that was a compliment or not, Lydia nodded. "Okay. So do you mind if I smoke? I always have one when I wake up."

"Fine by me, if it's a smoking room," he replied, watching intently as Lydia crossed the room naked, bending over to access her purse for a lighter and a dart. Sidney smirked under his hand at the sight, thinking of the previous night.

She turned to look at the door, and saw a placard indicating that it was a smoking room. After this, she returned to the bed and covered herself up, all the way to her chest, then lit her cigarette and took a long drag.

"Hard to think a girl with pretty skin and teeth like yours smokes," Sidney commented. "A pretty picture for big tobacco. They'd like you."

With a scoff that turned into a cough, Lydia replied, "that's sweet, but I'm not a lobbyist."

"Don't have to be," Sidney said, "even if you showed up to an event as eye candy they'd like it."

"Wow, are you inviting me to be your plus one at the next big tobacco event?" Lydia asked with a raised eyebrow.

He shrugged, but still smirked, indicating he definitely was. Then he shifted to lie on his back, arms crossed behind his head. Truth be told, he was enjoying this just as much as Lydia was, and would rather stay in this hotel bed with her for eternity than ever set foot in another political event. 

[samtrapani]

bro... jj hunsecker... he's SO personal to me like. idk i think abt him more than other film charas bc i usually dont but i Love love him

[ochoislas]

LOS MOCHETES

Mi mente, tras vosotros, ase sólo mochetes retadores que de un tajo hienden con alas los troneros, rondan un olmo atrafagado con chillidos. Nuevo era el mes. La reja recia hendía. Mayo abollaban yertas yemas. Era mi locura mayor que mi soberbia.

Ya no hay virtud en la ciega confianza, sea en lugar, persona, aire amoroso. Tira la tromba el árbol eje. Nubes conducen a la red de un cruel montero, nos arrancan al aire. Recortadas las alas, suerte y amor aun en partirnos: la obra más cierta pasman ala y grito.

*

THE KESTRELS

When I would think of you, my mind holds only The small defiant kestrels—how they cut The raincloud with sharp wings, continually circling About a storm-rocked elm, with passionate cries. It was an early month. The plow cut hard. The may was knobbed with chilly buds. My folly Was great enough to lull away my pride.

There is no virtue now in blind reliance On place or person or the forms of love. The storm bears down the pivotal tree, the cloud Turns to the net of an inhuman fowler And drags us from the air. Our wings are clipped. Yet still our love and luck lies in our parting: Those cries and wings surprise our surest act.

Sidney Keyes

di-versión©ochoislas

[cleaningbones]

THIS IS INSANE WHEN DID I WRITE THIS IN MY JOURNAL????????

[forthegothicheroine]

I've made a post about great lesser-known noirs, but it occurs to me that some of you might not be familiar with the classics, and might want to know where to start. This is a ridiculously short list- I have a million more to talk about- but here are some of the big stars of the genre.

The Maltese Falcon: Sam Spade, a clever but callous private detective, gets wrapped up in intrigue relating to an artifact that is functionally cursed. If he's an unscrupulous character, just wait until you meet everyone else. The whole damn cast is electrifying, lending charm and cruelty in equal measure.

The Big Sleep: Philip Marlowe, a kinder and more poetic detective for Humphrey Bogart to play than Spade, is called upon to deal with a wealthy, dysfunctional family, and it keeps on getting weirder from there. Is the sharp-tongued Vivian Sternwood the femme fatale she seems, or is she just another person trying to find the right thing to do in desperate circumstances? And will she and Marlowe keep their hands off each other until the plot has had its last twist?

Double Indemnity: Rich housewife Phyllis Dietrichson and sleazy insurance agent Walter Neff are, by their own admission, rotten people. It's only natural that they should plot a murder together, and that they should turn on each other the very second things go wrong. Every single domestic murder movie since 1944 has ripped this off.

Kiss Me Deadly: This is nominally an adaptation of a Mike Hammer story. Screenwriter Bezzerides hated Mike Hammer. As depicted here, he is one of the worst people in the world. Depending on the cut of the film you see, he may inadvertently cause the nuclear apocalypse. (For once, the theatrical cut is darker.)

Sweet Smell of Success: Cruel, all-powerful columnist JJ Hunsecker wants his sister's boyfriend out of the way (for reasons that are, um, ambiguous.) To accomplish this, he enlists the biggest weasel in New York, Sidney Falco, and the two completely deserve each other as they spend the rest of the movie trading elaborate insults. Popular on tumblr for its dialogue and chemistry between the leads.

Sunset Boulevard: Broke screenwriter Joe Gillis thinks he can con a has-been into hiring him as a script doctor, and that's the last free decision he ever gets to make. From then on, his life is in the hands of Norma Desmond, silent film starlet turned crazed recluse, terrifying yet intensely pitiable. This is as much gothic horror as noir.

Ace in the Hole: The story of a man trapped in a cave is turning out to be a big hit in the newspaper, and if the publicity will make a reporter's career, then what's the harm in delaying rescue just for a little while? This is as vicious as noir gets, but damn it, you've just got to see what happens next. (Watch Jacob Geller's video Fear of the Depths after this.)

Sorry Wrong Number: Of all the films on this list, this is the one that really scared me. In the days of switchboards, a rich hypocondriac woman is connected to the wrong phone line and overhears a murder being planned. It doesn't take her long to figure out she's the intended victim, and each call she makes or recieves makes the situation darker. But how can she escape her fate if she can't- or won't leave her bed?

The Asphalt Jungle: The heist movie. Maybe the only heist movie ever made. Every line is quotable. Every member of the team is an unforgettable personality. When things go wrong, they go horribly wrong. One minute you're laughing, and the next minute you think you'll never laugh again.

Gun Crazy: Laurie and Bart, two practiced sharpshooters, are perhaps the most perfect match in all of noir- and that's a bad thing. When one half of the duo gets a criminal idea in their head, the other can't say no. When the opportunity to ditch her man like a sap comes up, the femme fatale throws it away to be doomed at his side. He fell in love with her when she first aimed a gun at him. Quentin Tarantino kissed star Peggy Cummins's feet at a showing of the film, and I hope she kicked him in the head.

Laura: Everyone was in love with Laura Hunt, and somebody killed her- or did they? Did they get the right person? Is the cop on the case in love with a dead woman? Was her columnist mentor just her gay best friend, or was there something darker beneath that facade? And what would Laura think of all this? A big inspiration on Twin Peaks.

In a Lonely Place: Bogart isn't at all heroic here, as a screenwriter with a drinking habit and a violent temper. He's obviously a bad idea to date, but just how bad an idea? He's not the type of guy who'd kill a woman, is he? Bogart and Gloria Holden give perhaps their best performances here, and they'll wound your soul.

Touch of Evil: A Mexican cop (played, unfortunately, by Charlton Heston) finds out a nasty secret about the big hero cop Hank Quinlan: he's framed the culprit in most of his cases. Not because he's crooked, but because his intuition tells him they're guilty. Director Orson Welles as Quinlan is frightening, grotesque, and a little bit tragic in what some consider the last classic noir.

The Killers: The first twenty minutes or so are an adaptation of a Hemingway story, where out of town hitmen gun down a man so depressed he won't even bother to run from them. The rest of the film is an investigation into how he got that way. It had something to do with a radiant gangster's girl, and something to do with a few botched crimes. Sometimes a man can die before the bullets even touch him.

The Third Man: Everybody is lying about the whereabouts of an American expatriate named Harry when his friend comes looking. Did they do something to him? Or, more frightening still, is he the one who's been doing things to other people? Orson Welles is a more charming monster than he was in Touch of Evil; the light and shadows on his face cast him as a vampire, while his fingers sticking up through the sewer grate look like something terrifying emerging from the earth.