A Place to Go (1963)

Une étape intéressante et moins connue de la saison Basil Dearden combine le « kitchen sink » et le film noir.

A Place to Go (1963) is a British Basil Dearden rare kitchen sink and crime combo feature teenage pop hit social commentary and 1960s reconstruction heist and youth dating and romance drama starring Bernard Lee, Rita Tushingham, and Michael Sarne. 

The Third Man (1949)

The high point of the Joseph Cotten season may be one of the most famous motion pictures of all time.

The Third Man (1949) is a milestone classic film noir Carol Reed and Alexander Korda and Graham Greene collaborative drama of post-war Trümmerfilm and unconventional romance while also being an unconventional thriller of confused ethics in a devastated world-themed zither-thou-goest intrigue in partitioned post-war Vienna multiply layered writer hero voiceover contraband underground mainstream masterpiece of collaboration and all time cinema favourite, indeed in 1999, the British Film Institute voted The Third Man the greatest British film of all time, while later in time, after long mature reflection, in 2011, a poll for Time Out ranked it the second-best British film ever; and starring Joseph Cotten, Du kannst darauf wetten, dass er es ist!, and Alida Valli and Orson Welles, with Trevor Howard, Bernard Lee, and some cats in film noir also for completeness of theme.

The Secret Partner (1961)

The Basil Dearden season addresses the early sixties with one of his noirnormative middle class mystery concoctions.

The Secret Partner (1961) is a Basil Dearden dockside dental blackmail investigative managerial executive officer heist and mystery man in the night early sixties Limey British film noir adventure thriller with Stuart Granger, Haya Harareet, Bernard Lee, with Hugh Burden, Norman Bird and Lee Montague. 

The Ship That Died of Shame (1955)

The Ship That Died of Shame (1955) is a wartime flashback Basil Dearden nautical noir smuggling returning veteran adventure bereavement melancholy crime and coastguard foggy channel rockin manly 50s British film noir, which does ultimately serve noir but manages to swerve noir, while being a good yarn and ripping adventure, with the tragic bombing of a wife and the original sound stage equipped with aides throwing buckets of water over the actors during the rougher sea segments of the shooting, a surefire Limey seafaring movie staple.

This film has an Alfie Bass bonus. It has a Bill Owens count that is among the highest in film noir.

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).

The Fallen Idol (1948)

The Fallen Idol (1948) is a child's-view psychological mystery Limey classic film noir thriller which delights in a great script, a fascinating and compelling story, top drawer acting from the very best of the age, and is a general talent-mix of both Carol Reed and Graham Green, both at their cinematic best.

The eyes of a child are untrained in perceiving the grey between the morality of black and white. It is on this precarious naivety of youth that Carol Reed hangs the suspense of The Fallen Idol.

Reed, in collaboration with novelist and screenwriter Graham Greene, crafted The Fallen Idol a year before their masterpiece The Third Man. While The Fallen Idol might seem to suggest adolescent growing pains, your assumptions deceive you. The film is nearly as much a noir classic as Reed's Odd Man Out and The Third Man, which bookend it in his all-too-classic none-too-shabby all-so-awesome filmography.