CineVegas Film Festival 2008

Set in a visually dazzling fantasy of the early 1930's, DARK STREETS tells the story of Chaz Davenport, a dashing but naive playboy who owns the hottest new nightclub in town – “The Tower.” Surrounded by blues music and juggling two gorgeous singers, Chaz is the envy of every man. Yet he's up to his neck in bad debts and bad choices, and his father's unexpected suicide gets more mysterious the more Chaz looks into it. As he is drawn deeper into a web of lies and betrayal, Chaz no longer knows who to trust or who to fear. Rachel Samuels places this melange of politics, sex, and family secrets against a lush and lurid backdrop. Buoyed by its stunning art direction, wardrobe, and cinematography, and propelled by alluring performances from its multi-talented cast, DARK STREETS is a neo-noir musical that richly stimulates the senses. Bijou Phillips and Izabella Miko radiate as Gabriel Mann's femme fatales. And the soundtrack boasts the best contemporary blues artists, including Dr. John, Etta James, Natalie Cole, Aaron Neville and Solomon Burke; as well as a rich blues score with contributions from BB King and Richie Sambora. DARK STREETS is a unique, music-driven feast for the eyes and ears. Public Contact Info: www.darkstreetsmovie.com www.bluesinitiative.org darkstreets.rsamuels@gmail.com

“Poverty is the parent of revolution and crime.” -Aristotle If you grow up in a rough neighborhood, you learn how to survive quickly. In the East End of London after World War II, survival for some kids led to violent lives. Pretty Boy Roy Shaw got into “unlicensed” boxing when he learned he was blessed with the power of punch. Danny Woollard beat up a man who owed him money—he became a professional enforcer. Victor Dark became a bank robber. And the filmmaker’s father, Les Falco, describes his own life without recommendation or criticism. First-time filmmaker Nicola Collins explores the gritty complexity of these men's lives; infamous criminals that shaped their war-torn environment into a violent underworld. In fitting black-and-white portraits, the men do not leave anything grey—they talk about their extraordinary lives and their code of honor without shame or apologies. Film noir is too cute of a movie description. THE END is bare-knuckle reality. Public Contact Info: Duckin & Divin Productions Los Angeles, CA info@theendthefilm.com