Classic Film Noir exposes the myths by which we fulfil our desires — sex — murder — and the suburban dream — 1940 to 1960 — FEATURING: amnesia, lousy husbands, paranoia, red scare and HUAC, boxing, drifter narratives, crooked cops, docu-style noir, returning veterans, cowboy noir, outré noir — and more.
We're No Angels (1955)
The Hound of the Baskervilles (1939)
Historical and faithful, wonderful and trend-setting, and with a noir-themed foggy soundstage, in an era just before World War, expressing the accumulated sophistication of the movie making of the 1930s, with more to commend it than simply its being a pure and fun expression of the Holmes story, as well as being the first of 14 films, which came to type a legend into the annals of cinema, drama, and noir.
Out on Fox's enormous back lots, the landscapes of Devonshire came to life and notably there was no hint at all with any participating artist, producer nor technician, no suggestion that there would be any more Sherlock Holmes films after this one.
After landing the role, Basil Rathbone said:
"I think that Holmes is one of the greatest characters in fiction. With all the thousands of detective and mystery stories that have been written since, the name of Sherlock Holmes still stands at the head of the roster of famous sleuths. It is synonymous with the very word 'detective'. To play such a character means as much to me as ten Hamlets."
Crossroads (1942)
William Powell plays a diplomat whose amnesia about his past subjects him to back-to-back blackmail schemes, which threaten his reputation, job, marriage, and future.
The film was based on the 1938 French film Crossroads which had also had a British remake called Dead Man's Shoes in 1940.
With shimmering cobblestones and foggy streetlamps, and deception, blackmail and a surprising if dubious mystery story, Crossroads (1942) is a prime example of 1940s amnesia noir.