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Starring Gene Kelly as a hero for the good of the new country, and an immigrant who much in the style of the later Michael Corleone, vows a vengeance on the Black Hand gang that killed his father.
The historical aspect is accurate as it goes, and most notably there are scenes of pubic speaking during which the existence of the Black Hand is denied completely, something that was common to the phenomenon.
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Jan Sterling, Audrey Totter, Juanita Moore, Cleo Moore make a cell block of sass and noir dialogue, while outlandish banter and bravado make stir seem fun, although not for the mortally bullied cracked up manslaughter case of a gentle woman cast into hellish chokey, played by Phyllis Thaxter.
Howard Duff plays a pipe pokin heart throbbin prison doctor, who is deeply concerned for the welfare of in particular Phyliss Thaxter's broken form, as she is strait-jacketed, broken, and psychologically torn apart.
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Accused of Murder emerges from the shadows of 1950s American cinema as a non-quintessential example of the film noir style, directed with precision attention to color and its processes by Joseph Kane and featuring a semi-stellar cast led by David Brian, Vera Ralston, and Sidney Blackmer.
At the heart of this Republic Pictures produced and distributed work of noir art narrative lies the enigmatic figure of nightclub singer Ilona Vance, portrayed with captivating allure and alluring captivity by Ralston. When crooked attorney Frank Hobart meets his untimely demise, all eyes turn to Vance, the last person to have seen him alive. As the accusing finger of suspicion points in her direction, Vance finds herself entangled in a web of deceit and intrigue, fighting to clear her name and unravel the truth behind Hobart's demise.
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Also known as Frightened City, The Killer That Stalked New York (1950) stands as a cinematic testament hailing from the noir-tinged annals of 1950, a creation helmed by the cinematic maestro Earl McEvoy and featuring the luminous talents of Evelyn Keyes, Charles Korvin, and William Bishop.
This celluloid venture, captured on location and steeped in a semi-documentary aesthetic, unfurls a gripping narrative centred around diamond smugglers who, unbeknownst to them, become inadvertent instigators of a smallpox outbreak amidst the gritty expanse of 1947 New York City.
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Starring Dana Andrews, Lee J. Cobb, Karl Malden, Arthur Kennedy and Jane Wyatt, with voiceovers by Reed Hadley, Boomerang also boasts the most comprehensive roster of film noir character actors in all of the styles many movie productions.
By making use of the stentorian voiceover which was becoming increasingly popular as the 1950s fast approached, there is a semi-documentary feel to Boomerang (1947), which seeks noir authenticity not only by broadcasting the action in the voice of authority as it takes place, but under the forward-thinking direction of Elia Kazan, makes good use of New England people and locations, to infuse the film with a special layer of authenticity — a technique becoming more popular as the procedural style evolved.
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Too Late for Tears (1949) stars Lizabeth Scott and Dan Duryea as first lady and super-sap of classic film noir, in a fantastic and twisted set of murder plots focused on a sack of dough and one of noir's best femme fatale characters.
You'd be pushed to find a more textbook cheaply made classic film noir than Too Late For Tears, starring Lizabeth Scott and Dan Duryea.Cheap it may be, but Too Late For Tears packs a mighty punch. The flick opens with a simple premise which has been much repeated over the years: a young couple come across some ill-gotten money, and their decision to keep it reverberates hard.
Nobody in any movie at any time hands in the money they find. There would of course be no movie if that happened, no moralising, no murder, no suspense and no desperate sliding into purgatory as the noose tightens, and increasingly hard decisions need to be taken.
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