The Blue Lamp (1950)

The Blue Lamp (1950) is a Limey crimey ensemble cast classic British police procedural and Ealing produced state of the nation values-led post-War copper drama, directed by Basil Dearden and starring Jack Warner, Dirk Bogarde, Bernard Lee, Peggy Evans, and is about as non-noir as it gets, while still being entirely relevant to the crime wave fevered press narratives of the day. 

its about the bonhomie and salt of the earth morality of the constables, all working men with values that we might like to interpret as British and are seen giving directions, and actually helping elderly women across the road. They even appear to have a separate division titled 'Women Police' (26:10).

Black Magic (1949)

Black Magic (1949) is an historical Orson Welles film noir hypnosis ham and history fest of magical and wildly entertaining crowd and close up, sumptuous set piece dark and magical fun-based frolics of the late forties, with some Dumas-based class projections as the piece adopts the narrative of the novel of the same by Alexander Pere.

For oddity and oddity alone the first scene of this spectacular cast of hundreds of extras spectacular festacular magicianical historical Francophile tale of society ambition and absolute Welles-ian pride of personality leading to a hubris-driven fall, has for no apparent reason other than the whimsie or the dandification of the reels, an entretemps between Dumas Snr played with bold waggery by Berry Kroeger, and Dumas Jnr, played with gentle ungruffery by the normally gruffed up Raymond Burr.

The Hustler (1961)

The Hustler (1961) is a poolroom gambling culture sports drama hubris film noir con movie tragedy, about one man's prideful journey through the underworld of his own wasted talent, and the alcoholic and suicidal woman he befriends, for his own ends of course.

It's a classic of many sorts, for many reasons, and is incredibly forward looking in its tragic and existential biploar jazz and thumb-breakin' misery, set in the seediest halls and shabbiest rooms, in the ropiest towns in the loneliest states, finding a vortex of doom which swallows thew female character, played by Piper Laurie, whole.

Bedlam (1946)

Bedlam (1946) is a historical shocker exploitation psychological thriller horror noir based on the drawings of William Hogarth and telling of exhibitionism, cruelty and vintage style madness, sympathy and bedlamites of yore in fig, pose, phantasy and framed with filmic license aplenty, talking much of the madness, and mildly exhibiting the standards of the earliest and most genteel modes of exploitation as cinema.

No monstrous modes of action herein but something that seems to prefigure the British Hammer films of the later 1950s and the 1960s, with a village horror kind of vaudevillian villain most mild torture and cruelty, with visions of captivity dominating the viewers delivered palette of ideas.

The Ghost of Frankenstein (1942)

The Ghost of Frankenstein (1942) is a Universal horror Frankenstein-franchise 'Monster Factory' resurrected monster horror drama villager thriller starring Lon Chaney Jr, Bela Lugosi, Evelyn Ankers and Lionel Atwill. 

An otherwise tale of perpetual and repeated and universal rejection, The Ghost of Frankenstein (1942) is a class-act movie yarn of mob activity, superstition in the imaginary Eurowald of Hollywood, and possibly one of the finer expressions of the villager mob experience in all of the Golden Age horror cycling, while also undertaking some monster streamlining as the franchises developed, and as they simultaneously migrated into an increasingly cheaper sound stage reproduction of the monster infected olde worlde which appears increasingly foggy-floored and foggily-lored.

The Fallen Sparrow (1943)

The Fallen Sparrow (1943) is a dense anti-Nazi World War 2 returning veteran film noir of paranoia, trauma, and espionage, with John Garfield as a Spanish Civil War veteran in possession of a priceless keepsake, who returns home to find out who murdered his friend. It received an Oscar nomination for Best Scoring of a Dramatic or Comedy Picture.

The Fallen Sparrow (1943) directed by Richard Wallace is a convoluted, politically charged spy thriller steeped in noir sensibilities. Starring John Garfield as the psychologically fractured Kit McKittrick and Maureen O’Hara as the enigmatic Toni Donne, the film operates within a framework of paranoia and trauma. 

Flesh And Fury (1952)

Flesh And Fury (1952) is a rise and fall glamour and gloves biting the dust deaf and mute boxing exploitation film noir with Tony Curtis, Jan Sterling, Joseph Pevney, Mona Freeman and Wallace Ford.

It is almost in a way a new and undiscovered media, what might be called simpleton noir. Joseph Pevney’s Flesh and Fury occupies a fascinating position within the boxing genre, offering a melodramatic yet compelling exploration of identity, class, and vulnerability. 

Jamaica Inn (1939)

Jamaica Inn (1939) is an Alfred Hitchcock Daphne Du Maurier historical wrecker and robber grog-swilling smuggler undercover cop old dark house family tragedy and at times pleasantly ham-laden melodrama, which also doubles as Alfred Hitchcock's last British film and the last feature film the great director made which did not feature one of his directorial cameos within it.

Alfred Hitchcock’s oeuvre is rife with complex and often tyrannical parental figures. This recurring motif not only shapes his narratives but also deepens the psychological tension in his films. 

Obsession (1949)

Obsession (1949) is a Limey lousy husband murder cat and mouse and dog revenge thriller in which Robert Newton plays a London psychiatrist who is so fed up with the repeated affairs of his wife Storm, that he plots and executes a seemingly perfect revenge against her latest lover, an American, by locking him for five months in a dingy post-war basement, while preparing a fiendish end for the sorry Yank.

The American nature of the victim seems to be a snidely perfect backdrop for the very British murder, and as the action commences, we are in the gentleman's club where the psychiatrist relaxes, listening to the snobbish upper classes dish the dirt on the British economy, and its new reliance on the US dollar, and the post-war glooms which are irritated further by the cultural evidence of the United States which pervades the drear with its omnipresent and clashing accent.

Deadline At Dawn (1946)

Deadline At Dawn (1946) is a classic era classic female seeker hero hardboiled amnesia film noir, and a classic film noir which is also a great example of several other film noir sub-styles including cabbie noir, and outre noir.

Full of fun, mystery and menace and with an almost unique script, quipped with an unequaled touch by Clifford Odets, not known for his cinematic writing, and directed by 

The history and definition of film noir remain complex, filled with contradictions and shifting interpretations. Though often described as an American invention emerging from a synthesis of hard-boiled fiction and German expressionism, noir's roots and reach are far broader.

The Bribe (1949)

The Bribe (1949) is a classic exotic lousy husband post-war Central American murder mystery cop film noir with Ava Gardner, Robert Taylor, Vincent Price and Charles Laughton, in a kind of noir-by-numbers take on many staples of the style, combing noirish elementata in a perfect combination late forties thriller.

There is a lot to see, not the least of it is Robert Taylor and Vincent price, sitting together and looking so kinda similar that it is not just eerie, but a sign that things are going to be a lot of fun. 

Pleins feux sur l'assassin (1961)

Pleins feux sur l'assassin (1961) is a strange thriller mystery horroresque French film noir nest of vipers-style rural chateau based tale of twisted and messed up tale of bereavement and greed, which speaks of mortality, intense hatred, evil old age male spite and 

It is a film not entirely within the French New Wave, and yet one which does display strong noir tropes, and at the same time seems to look at Jean Cocteua or Marcel Carne as inspiration rather than indulging in the deconstructions of the contemporary French class-acts such as Godard and Truffaut.

Illegal Entry (1949)

Illegal Entry (1949) is an unlawful residence Truman-era illicit Mexican border immigrant smuggling operation film noir directed by Frederick De Cordova and starring Howard Duff, Märta Torén and George Brent.

The later 1940s and early 1950s were a unique era in American cinema, where the intersection of real-world fears and Hollywood's hunger for drama gave birth to a distinct genre: the semi-documentary. 

These films, often based on espionage and FBI cases, served not only as entertainment but also as propaganda, reinforcing the public's trust in federal agencies at the dawn of the Cold War. 

Appointment With Crime (1946)

Appointment With Crime (1946) is a British gangland revenge thriller Limey film noir with a sweet and vile sharp noir edge indicating that the forties filmers of the United Kingdom has been paying attention to the American noir reels, enough to encapsulate and imitate and transplant some of the best noir tropes from one side of the Atlantic to the other, and so with wrist torture, sore wrists, and all manner of wrist attack upon William Hartnell's villainous and hard done by wristless crook.

William Hartnell plays as cool calm and smokin twisted career criminal who like any true anti-hero villain has a peculiar facet or obsession, and in this case it is his wrists.

Der Verlorene (1951)

Der Verlorene (1951) is a post-World War II Peter Lorre directed West German rubble vengeance and regret existential experimental-Nazi vivisection lab film noir, directed and starring the recovering morphine-addicted super-scion of film noir, Peter Lorre.

Peter Lorre does manage within the scope of this late period rubble film, to create a most memorable character, although he does so much Lorre drift, peer, stare and smoke, and like all Peter Lorre films, and like all of Peter Lorre's life, the mis en scene is heavy on the cigarette-based action.

Thunder Road (1958)

Thunder Road (1958) is a free-wheeling and lurid hillbilly noir drama thriller about the moonshine business and a crazed item of uber-engine-block-rockin fun abd double Mitchum-]based racing madness and mannish boyhood aggression among the backwood backwaters of the moonshine states of Kentucky, North Carolina, and Tennessee in the late 1950s, with added cult-movie drive-in status and plenty machine action and moody maleness, old and young.

It's a noirish crime story with more than just a few late period swiping stabs at the style.

Boy must ya hate 1958 and this movie which opens with the banjo pickin moan of authority that complains millions of dollars are lost to the treasury through taxation each year by means of the power of illicit whiskey, boo hoo. Who cares!

Judex (1963)

Judex (1963) is a French language crime remake revenge-noir swinging mirror camera action mystery, capture, intrigue and oddity P.I. historical noir melodrama which is delightfully static, wild of avian headgear, and other subtly surreal touches of oddity and exciting curio.

It's soft and gentle, a film on tip toes, an acoustic film like no other, without doubt a film of birdsong, and otehr ambience, but eh music when it is musical is absolutely choice, the ambient quiet drone and deep distant trills during he good versus evil white body suit versus black body suit combat mani a manin on the dark French provincial rooftop is unmissable film chic. You know this film has some heavy dark chords too, beneath the word FIN au fin they clang in death march time baby.

The Picture of Dorian Gray (1945)

The Picture of Dorian Gray (1945) is a historical supernatural film noir drama adaptation of the great decadent novel by the fop himself, the dandy of the decade, the finesse of the fin de siècle himself, Oscar Wilde.

Noir and special effects and noir and colour noir, and a peculiar observation that like The Woman in White (1949) it's a novel adaptation that stretches the patience of its period, proving words provide girth and are worth their weight in those heavy heavy reels and our tendency to like em short.

Stray Dog (1949)

Stray Dog (1949) is an Akira Kurosawa buddy-cop Japanese film noir undercover heatwave detective police procedural homicide back-street illicit arms market absolute classic of Japanese noir, that stars  Toshiro Mifune and Takashi Shimura.

It was Kurosawa's second film of 1949 produced by the Film Art Association and released by Shintoho and while considered a noir, it should also be fully considered as a fully formed detective movie and indeed you should know it as being among the earliest films in that genre.

The Big Shot (1942)

The Big Shot (1942) is a Warner Bros. three-time-loser prison break couple-on-the-run innocent-man-convicted heist and gangland crime film noir thriller with Humphrey Bogart as the sympathetic gangster mob boss hero and Irene Manning as the woman he loves.

As any canon of work relies on trope and recognition, trope and repetition, all of which should be traceable back into the originating myths of its society, here is an archetypal late 1930s tale of motor madness, criminal expression, and the determination to go straight.

The latter is one of the greatest themes of the era. There were men who were innocent caught up in crime, there were veterans returning from the moral order of war to the confused criminal urban environments, and there were the charismatic guilty, who try as they might, could not avoid crime.

Cry Vengeance (1954)

Cry Vengeance (1954) is an ex-con framed and disfigured ex-cop on a mission violent rural slick vengeance film noir with hardboiled cops and a blond psycho hitman on the loose in backwater Alaska.

The orchestras of the 1950s are bugger, bolder, brassier and this mid 50s noir indicates well the period when the hardboiled become so hard that the pan had dried and the metal of its surface had fused into a mighty grimace, here worked by the unsmiling Mark Stevens.

The Brute Man (1946)

The Brute Man (1946) is an exploitation noir-style civic horror B-feature in which social fears of deformity seem to come alive in the rather blunt capitalisation of the medical misfortunes of Rondo Hatton, some time proto-horror star and former journalist who found a career in film due to his unique facial features, which were the result of acromegaly. Hatton headlined horror films with Universal Studios near the end of his life, earning him a reputation as a cult icon.

In The Brute Man, Hatton plays Hal Moffet. He’s a handsome college athlete disfigured by a chemistry lab accident. Raging at the friend he blames for his misfortune, he sets off on a killing spree. 

This neatly parallels Hatton’s real biography. He was once an athletic youth, but war and disease changed his body. 

The Case Against Brooklyn (1958)

The Case Against Brooklyn (1958) is a crooked cop police procedural crime-syndicate corrupting city officials style of late film noir cycle rookie-cop-taking-on-the-system style of bribery thriller drama from Paul Wendkos, who went on to direct many a cop and comedy TV and movie thriller up until the 1990s, and indeed many other kind of 80s and 90s era TV movie fare.

The 1958 noir film The Case Against Brooklyn offers a semi-gripping portrayal of systemic corruption within the police force and the criminal underworld. Directed by Paul Wendkos and based on a real-life article by investigative journalist Ed Reid, the film is a film noir sensational guarantee that Hollywood will pretend to offer a reminder of the ethical dilemmas and personal sacrifices involved in exposing organized crime.

The Spy in Black (1939)

The Spy in Black (1939) is a British espionage World War One submarine and double agent spy noir, and the first collaboration between the filmmakers Michael Powell and Emeric Pressburger. 

These two visionaries of the mid-century were brought together by Alexander Korda to make this World War I spy thriller novel of the same title by Joseph Storer Clouston into a film. 

Powell and Pressburger eventually made over 20 films during the course of their partnership.

Shock (1946)

Shock (1946) is a paranoid woman gaslit-to-madness sanatorium-based evil doctor psychological murder thriller from the golden age of the paranoid woman movie, which is coincident with the golden age of Hollywood, if that is a fact that matters?

The ultimate expression of the paranoid woman trope, so common to the 1940s, has a completely sane female character committed to a sanatorium where she is driven mad, in testing circumstances, brought to the brink, and made mad in the face of truth.

Dust Be My Destiny (1939)

Dust Be My Destiny (1939) is an innocent-man-jailed moral drifter narrative prison farm social state of the US couple on the run drama and romance proto noir which expresses noir moments and captures noir sentiment, as it bums across the states in various wagons and train carriages, always expressive of the idea that love will out.

Dust Be My Destiny (1939) is beautifully staged expression of what America sought most for itself, the idea of what it was set to become, its deepest anxieties about morality expressed in individual and romantic action from John Garfield, largely.

On The Beach (1959)

On The Beach (1959) is a metaphenomenal post apocalyptic novel adaptation dark and empty gaze at the emptiness of post-nuclear life and the actual point of any kind of human existence, phrased beautifully in a Hollywood void of expression, most appropriate to the winding close of the existential age brought about by the cold Cold War reality of a life that is either radioactively poisonous, or sub marine.

On the Beach, written by Nevil Shute and adapted into a film by Stanley Kramer, stands as one of the most controversial and widely read books of its time. Both the book and the film are credited with significantly influencing the anti-nuclear weapons movement of the 1960s and contributing to the end of the nuclear arms race.

Rififi (1955)

Rififi (1955) is a classic for-all-time French crime heist criminal gang suspense film noir adaptation of Auguste Le Breton's novel of the same name.

Directed by American blacklisted filmmaker Jules Dassin, the film stars Jean Servais as the aging gangster Tony "le Stéphanois", Carl Möhner as Jo "le Suédois", Robert Manuel as Mario Farrati, and Jules Dassin as César "le Milanais". 

This equippe du crime collab to commit an almost impossible theft, the burglary of an exclusive jewelry shop in the Rue de la Paix. 

The centerpiece of the film is an intricate half-hour heist scene depicting the crime in detail, shot in near silence, without dialogue or music. The fictional burglary has been mimicked by criminals in actual crimes around the world, making of Rififi (1955) more than just a classic of cinema, but a criminal touchstone in tis own right.

The Body Snatcher (1945)

The Body Snatcher (1945) is a dark and gloomy atmospheric chiller classic old school creepy horror gothic dramatisation of the body snatching habits of early 19th century Scotland.

Presumably one could tune in as many have done in order to see Lugosi and Karloff playing a scene together, which certainly happens within and is worth the wait.

Elsewhere Scotland provides some proper atmosphere and the ramparts of Edinburgh Castle are re-created well given the restraints of a typical studio.

There are a few other Scottish travesties to enjoy, and one of the rarest within The Body Snatcher (1945) is the murdering of the dog Greyfriar's Bobby, much beloved of every soul in both Hollywood, and in Scotland. To see wee Bobbie smashed and disposed of with a shovel is an awesome and horrific sight.

Marriage in the Shadows (1947)

Marriage in the Shadows (1947) or as we should prefer to offer it its proper title, the film called Ehe im Schatten is a beautiful noir melodrama masterpiece of East German Trümmerfilm, telling an epic war-spanning tale of Nazi complicity and Nazi attrocity and the Nazi destruction of art and the Nazi destruction of social bonds, and the Nazi destruction of the theatre of Germany and the Nazi destruction of personal relationships and friendness, with the Nazi destruction of social bonds driven home, sad frame after sad frame, in a story of Trümmer awfulness, elevating liberal thought and love, and showing that the only things stronger than Nazism are on the threshold of being itself.

Here is the story, as it were: in Nazi Germany actor Hans refuses to divorce his Jewish wife Elisabeth. He is threatened to be drafted and sent to the front while she will be deported to a concentration camp. Desperate, Hans decides that suicide is their only way out.

I Walked With a Zombie (1943)

I Walked With a Zombie (1943) is a supernatural exotic Vodou thriller, super-fun with the uber-Caribbean heat of the sound stage, creative in tone, vision, effects, acting, sound, use of magic, monstrosity, novel monstrosity, zombification, film noir and the very mother birthing of the zombie movement, the liekyl most critical of all film styles and genres the zombie film

Did film noir birth the zombie film, it is for you to decide. Watch all film noir and all zombie films, and then respond. No, I Walked with a Zombie (1943) is not the first zombie film, but it is often considered one of the most acclaimed pre-Romero zombie movies. The 1932 film White Zombie is generally considered the first zombie movie. 

New Orleans Uncensored (1955)

New Orleans Uncensored (1955) is a dockside labor-relations boxing mob corruption romance drifter narrative film noir set in America's second largest port, after New York, as the film makers and their voiceovers remind us de temps en temps.

New Orleans Uncensored is a dismal and entertaining noir waterfront drama set in the French Quarter and docks of New Orleans. This low-budget film punches above its balance sheet, as all such films must do, offering viewers an engrossing experience from the opening sequence. 

The plot revolves around freight theft on the docks, with several suspects in play. However, rather than keeping the audience guessing about the perpetrators, the film takes a unique approach by revealing the culprits early on and focusing on the systematic destruction of a criminal network.

The Night Holds Terror (1955)

The Night Holds Terror (1955) is a true-incident-based American crime home invasion exploitation procedural youth violence epidemic extortion hostage drama thriller with John Cassavetes and Vince Edwards noiring up the mid 1950s with a crazed taste for disturbin the suburban peace of the era. 

The Night Holds Terror (1955), directed by Andrew Stone, dramatizes the terrifying ordeal of Eugene M. Courtier, whose real-life kidnapping in 1953 inspired the film. On February 13, Courtier, an Air Force technician, was abducted along a highway in Lancaster, California, by three criminals: Leonard Daniel Mahan, James Bartley Carrigan, and Don Eugene Hall. 

Call Northside 777 (1948)

Call Northside 777 (1948) is a 20th Century Fox journalism and media documentary style innocent man accused prison and investigation crusading reporter classic polygraph classic prison pantechnicon classic film noir, directed by Henry Hathaway and starring James Stewart as the man looking for Wanda Skutnik.

The sub brand of noir known as documentary style film noir is a useful something of a vague category descriptor, although it refers in real terms to the removal of production from sound stages to in many cases the streets and buildings in which events real or based on actuality came to be filmed.

The Strange One (1957)

The Strange One (1957) is a homosexuality Southern military bullying barely suppressed gay love film noir rough and ready with handsome recruits and serious acting styles, alongside ubercruel supersoldiers of the military south, at ease in the wilds of the barracks, boy on boy on boy.

An interesting look at gay themes from the 1950s, The Strange One is a film that reflects the era's attitudes towards homosexuality. At the time of its release, homosexuality was still criminalized in most states and considered a mental illness until much later. 

The Scarface Mob (1959)

The Scarface Mob (1959) is an early TV movie historical Al Capone and The Untouchables Eliot Ness-based film edit of the television pilots into an end of the cycle movie noir type of affair which has virtually no film noir elements to speak of, as such stylistic gems and nuggets are smoothed out to make way for the televisual plainety of the new mass media era of the 1960s.

The late 1950s brought black-and-white television to new heights, with The Untouchables exemplifying the era’s gritty appeal and plunge into endless tropery, some of which started right here. Known for its violence, the show stirred controversy in its day, with its portrayal of mob brutality and intense confrontations between law enforcement and the Chicago crime syndicates. 

Lured (1947)

Lured (1947) is a moody mystery female seeker hero investigatory London-set serial killer thriller outré film noir, made by Douglas Sirk and perhaps as far as the Sirk toes get into the fascinating dark and complicated world of noir drama.

In its way, Douglas Sirk’s lurid Lured (1947), an example of the lurid noir, reimagines hard enough upon Robert Siodmak’s 1939 film Pièges, that it must surely be classed as a remake, capturing the essence of a film noir thriller with an impressive cast and smoke machine moddiness and soundstage London-effect cinematography. 

The plot follows and does trail the female seeker hero type Sandra Carpenter (Lucille Ball), a sassy American dancer in London who is roped into a police investigation as a decoy for a serial killer targeting women through newspaper ads. 

Across The Pacific (1942)

Across The Pacific (1942) is a mildly xenophobic nautical noir spy movie with plenty of whimsy despite it being an eve-of-World-War-Two thriller, depicting in the figure of Humphrey Bogart, one studio's view of what involvement in that war might cause to bring about, while flinging some style-defining chops at the seascape in the traditional form of portholes, smoke machines, sea bars, deck rails, and Nihonnian peril seen through some rather insulting spectacle lenses.

Humphrey Bogart proves that despite being man of the century, which he may well have been, he does not look good in a uniform.

If we learn lesson about film noir and one lesson only let it be this: Humphrey Bogart does not look good in a uniform. Who would have thought that? More essentially: what deeper noir message can we elucidate from these sartorial obs?

Step by Step (1946)

Step by Step (1946) is a returning veteran post-war Nazis-in-California espionage and action thriller chase murder fugitive romance on the run film with noir qualities, and the amazing bodily properties of Lawrence Tierney, a truer man of film noir there rarely was, with this little coastal corker as one of his finest cracker crazed noiresque outings.

It Happened One Night (1934) properly introduced the couple-thrown-together trope, and it is true that this semi-noir Step By Step proves what a confused year 1946 may have been as it does indeed feature screwball elements, in light dashes, such as Anne Jeffreys in military uniform, and some carrying-across-the-threshold romance style of jinx.

Experiment Perilous (1944)

Experiment Perilous (1944) is a historical melodrama lousy husband suspicious couple insane jealousy film noir tale of  shattered glass, gushing water and floundering fish noir, yes aquarium film noir, and a crazy virtual prisoner drama of noirish proportions.

Tis indeed a film noir which is of those high-class nightmares wrapped in velvet, but make no mistake—it’s got a black heart beating under all that lush, shadow-soaked atmosphere. It’s a tale of gaslight and doom, where dames aren’t sure if they’re crazy or just trapped, and every smooth-talking gent’s got a trick up his sleeve.

The story kicks off when square-jawed psychiatrist Dr. Huntington Bailey (George Brent) stumbles into a real honey of a mess. A train ride and a chance meeting lead him straight into the twisted world of rich and refined Nick Bederaux (Paul Lukas), a husband with a mind like a steel trap and a grip on his wife, Allida (Hedy Lamarr), so tight it’s choking the life outta her. She’s a knockout with trouble in her eyes, and Bailey starts wondering if she’s really losing her marbles—or if her charming hubby is playing a slow, deadly game.

The Master Plan (1955)

The Master Plan (1955) is a Cold War amnesia spy military paranoia post-Korean war mind-control McCarthy era blacklist ahead of its time Limey noir made by Cy Endfield, already exiled from America and resettling within the British film industry.

The Master Plan (1955) is another circa 1955 thriller loss mysteries which open on a transatlantic flight in 'you are American!' mid air kind of whimsy arriving in an all too wrong England, it is sufficient of a noir trope to be expressive for decades, the Korean War is also mentioned in passing quoting banter, while they still also have the overgrown headaches from what they call already the last war.

36 Hours, or as it is daftly or is it deftly otherwise known Terror Street own start this way these characters we meet on the plane, it's the same with another Cy Endfield fun piece from the exact same time, and no surprising because he did fly into England in intrigue and who knows, maybe even disappointment at the old boys of the OSS back home, rooting out the communists.

The Web (1947)

The Web (1947) is a fast-moving entertaining late-early period and slightly preposterous but fun film noir filler, with Ella Raines, Edmond O'Brien, Vincent Price and William Bendix, so that is certainly a stern and select noiresque collection of faces to do the actin'.

The Web (1947) is in effect a Private Investigator film noir (P.I. Noir) although the character played by Edmond O'Brien is supposed to be a lawyer, although he functions entirely as a P.I,. being hired to be a bodyguard, carrying and using a gun, hanging with his coat collars up in alleyways, and more and more traditional and common P.I. behaviours.

He doesn't get down to none legal work, that is for sure. Other than the top and tail styling back of his maligned blue collar character, played by Tito Vuolo, with typical Vuoloism.

The Mark of The Whistler (1946)

The Mark of The Whistler (1946) is a The Whistler series drifter narrative film noir tale of deceit and false identity, revenge and corruption, and the impossible allure of abandoned dormant bank accounts.

If ever the fringe world of American noir was bottled up in hour bags and bands this were it. The essence of the style, the resonant espirit de noir.

A deeper consciousness of film noir, a ritual of film noir, a primal series of events that say noir and noir only in their connection and passing.

Greed, deceit, double identity, broken men, guilt and deception, and a cash lump sum of thousands.

Say are you scared of something?

Banking on a fraud and engrossing within its capacity for amazing coincidences, as true noir maybe need be, this is a subtle masterpiece guised as a universally plain style of cheapo noir, but there are resonances galore for the student of the style.

The Sleeping City (1950)

The Sleeping City (1950) is an undercover cop murder metropolitan hospital criminal nurse film noir starring Richard Conte and Coleen Gray, and directed by George Sherman.

Less well known than many inferior film noirs, The Sleeping City does offer a disturbing vision of one of the world's most famous hospitals — Bellevue in New York — in which black market drugs are smuggled out of the hospital in a sting and scam gambling operation.

Richard Conte is the cop who goes undercover, after some suitable screening, and his investigations bring him into contact with a rugged elderly elevator operator, a tormented roommate, and a mysteriously criminal nurse. an authority figure — here the actor Richard Conte — offers some message of public authority and often warning.

Abandoned (1949)

Abandoned (1949) is a journalism and media baby-adoption-ring female seeker hero film noir from high into the classic years of all out full fat noir, remaining a mean wittaw crime flick that slithers through the back alleys of corruption like a grifter on the lam. 

It’s got all the dirty fingerprints of a real noir—shadows thick as cigarette smoke, dames in trouble, and heels looking to make a fast buck off somebody else's misery.

It kicks off when Paula Considine (Gale Storm) hits Los Angeles looking for her missing sister. The cops? They don’t care. But a wisecracking newshound named Mark Sitko (Dennis O’Keefe) smells a rat, and soon they’re knee-deep in a baby-smuggling racket run by a smooth operator with ice in his veins, played by the ever-slick Raymond Burr. 

He’s got an adoption scam so tight it squeaks, selling newborns like hot merchandise, and anyone who gets in his way winds up floating face-down in the Los Angeles River.

The Thirteenth Hour (1947)

The Thirteenth Hour (1947) is a haulage and hallucination diamond smuggling duplicity and mystery film noir story from the The Whistler series of the films, eight of which appeared in the 1940s.

Haulage heel Steve Reynolds, played by Richard Dix, is a trucker guy who falls foul of a scheme that he uncovers from what seems like a series of accidents, and may in fact just be that, a series of accidents. 

Indeed and for whatever reason, there are questions unanswered at the conclusion of this tale, possibly the greatest of these being why is this film called The Thirteenth Hour, and what is the thirteenth hour and what in fact is it the thirteenth hour of?

Armored Car Robbery (1950)

Armored Car Robbery (1950) is a police procedural heist from the hard school of film noir as it slid painfully from the 1940s to the 1950s, leaving the theater, hitting the television, and features a super full film noir cast and a host of other style details and landmarks.

This is an Austerely Efficient B-Noir. Film noir, as a stylistic and narrative mode, emerged in American cinema as an aesthetic response to postwar disillusionment, embodying moral ambiguity, existential anxiety, and the inexorable descent of its protagonists into fated destruction.

Amongst the myriad offerings of this style, by which there may be about 1,000 relevant films from the 1940s and 1950s, with about and at least 700 of those being of the most importance to the noir crazed academics of the dark and black and white.

Double Indemnity (1944)

Double Indemnity (1944) is the super-famous mutha-of-all-noir stylish insurance fraud double murder classic film noir thriller that stands central to all commentary, criticism, focus and definition of the great noir style of the 1940s, and the production which is usually cited as the best example of the medium, the finest of all noirs, the apogee of the instance of the style, and the exemplification and blueprint were it needed of all the thousands of brimming wonders of production that made up the hugely powerful film noir movement.

The frightening and exciting weakness of sex was never better shown than in the encounters between Fred MacMurray and a to-begin-with naked Barbara Stanwyck, whom as equals it seems, concoct a murder for the existential fact of morality take over and trip them both up.

Dillinger (1945)

Dillinger (1945) is a cheapo-epic biopic crime heist, robbery, murder, prison and prison-break film noir which was the breakthrough role for tough guy villainous noir actor Lawrence Tierney, directed by Max Nosseck and co-starring Anne Jeffreys, Edmund Lowe, Marc Lawrence, Elisha Cooke Jnr and Eduardo Cianelli. 

Packed with fun, action and menace, and oddly replete with cinematic meta-mechanics, Dillinger (1945) cannot be flawed for anything other than historical accuracy. 

Historical accuracy might have gone against the grain, too. The minute makers of 1945, fresh off the tracks of the great crime film experiments of the 1930s, which incidentally probably amount to the greatest body of work of 1930s cinema, were imminently to collide with state forces and the Production Code was in fullest sway, and so accuracy might have been well sacrificed.

Riffraff (1947)

Riffraff (1947) is a  flavoursome Panamanian-set P.I. adventure oil executive nightclub mystery film noir with Pat O'Brien committed to the hard-bittten style, atheistically prosecuting the style for all the grimy practise it is worth.

The question of who came first, Dan Hammer or Mike Hammer, is one that warrants investigation. Both characters made their debut in 1947, but the more pressing question is: which of the two left a more significant mark on American pop culture?

Dan Hammer, the protagonist of the film Riffraff, is a character who, despite having several commendable qualities, has largely faded into obscurity. The film, set in Panama, features Pat O’Brien as Dan Hammer, a suave and resourceful man who knows the ins and outs of the town.