Classic Film Noir exposes the myths by which we fulfil our desires and lays flat the means by which we created the audiovisual dispositif — sex — murder — and the suburban dream — 1940 to 1960 — FEATURING: amnesia, paranoid women, lousy husbands, red scare and HUAC, boxing, drifter narratives, crooked cops, home invasion noir, docu-style noir, returning veterans, #KEFAUVER! cowboy noir, vacuum cleaners in film noir, outré noir, espionage noir — and more.
The Green Man (1956)
Waterloo Road (1945)
Waterloo Road (1945) presents itself, at first glance, as an agreeably told anecdote of domestic turbulence during the Second World War, yet such phrasing obscures the severity of its intervention.
Stage Fright (1950)
After the triumphs of his American films, Alfred Hitchcock returned to his roots with Stage Fright (1950), set largely in the theatrical world of post-war London. Based on Selwyn Jepson’s novel Man Running, the project marked Hitchcock’s attempt to merge his fascination with the stage with his penchant for suspense. The screenplay, adapted by his wife Alma and playwright James Bridie, promised a compelling tale of murder, deception, and performance, but the resulting film revealed both creative successes and notable flaws.
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