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.
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.
Bedlam (1946)
The Crimson Kimono (1959)
Amid a racial tolerance plea and a complicated love story that blossoms and battles its truthful way to a happy and promising conclusion, there is amid this and lurking there somewhere to be found a murder melodrama too.
In one mouthful cheap and cheerful buddy noir when buddy noir was not really a thing — nobody should trust anybody in film noir — least of all your partner.
Hangmen Also Die! (1943)
- director Fritz Lang
- playwright Bertolt Brecht
- composer Hanns Eisler
- and actor Hans Heinrich von Twardowski
When he is assassinated by a surgeon (played by Brian Donlevy), the city is locked down and the doctor must rely on the help of the resistance to evade capture.
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