Eddie Muller expressed a couple of caveats regarding the rare screening of Russell Birdwell's The Come On (1956), the second entry in Noir City's annual "Bad Girls Night". He warned that the film was so rare in fact that the print we were about to see suffered for quality, being—as far as he knew—the only 35mm print left in existence. Muller was sure that Castro Theatre projectionist Jeff Root was going to have to work very hard and "ride focus" on this film. "It doesn't really bother me to show one film in this series that is not in really good condition," Muller said, "because it does point out how significantly films can deteriorate and how important it is to do the work to preserve them."
The dilemma, Muller explained, is that some films suffer from what is called "vinegar syndrome", which is a communicable disease that films can share amongst themselves. The film actually begins to warp and deteriorate and archivists will always tell you—if you open up a film can "and it smells like a salad in there"—that's a very bad thing. "This film is starting to seem edible at this point," Muller admitted.
The Girl in the Kremlin, 1957). "He is a man who is completely devoid of style," Muller confessed, then qualified, "Well, I don't know if he's a man devoid of style; he's a filmmaker devoid of style." Notwithstanding, Muller deemed the script terrific and a chance to see Sterling Hayden, Anne Baxter and John Hoyt.
Whitman Chambers' snaky scenario, a '50s version of Body Heat in which one character won't stay dead and the sleazy private eye is America's favorite washing machine repairman (Jesse White). Sun and sand replace the asphalt, but there is more than enough lying and larceny to go around in one of the most scarcely seen titles in the noir canon."