Whistle Stop (1946)

Whistle Stop (1946) is a film noir tale of crazed small town jealousy bursting at the seams with a lousy husband and lousy boyfriend competing over the most beautiful woman of all time in a booze-based gamblathon with train image-ery a-plenty and passing trains and honking trains obviously while whistle stop motifery abounds in a darkened noir manner at the end of hope, as George Raft employs his incredibly still face, and Tom Conway twitches his most incredibly smooth and moustachioed face, and both faces are punched in booze-based and non booze-based rage, and Ava Gardner deploys her incredibly beautiful face.

I Am A Fugitive From A Chain Gang (1932)

I Am A Fugitive From A Chain Gang (1932) is a proto-noir pre-Code prison and prison break film noir classic of American penal servitude and injustice, laying the ground work for many noir movies which followed, thematically 

The 1932 film I Am a Fugitive from a Chain Gang is a remarkable example of pre-Code Hollywood’s capacity to blend searing social critique with gripping drama. Adapted from Robert Elliott Burns' memoir, I Am a Fugitive from a Georgia Chain Gang!, the film portrays the systemic brutality of the Southern penal system during the 1920s. 

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).

Thunder Road (1958)

Thunder Road (1958) is a free-wheeling and lurid hillbilly noir drama thriller about the moonshine business and a crazed item of uber-engine-block-rockin fun and double Mitchum-based racing madness and mannish boyhood aggression among the backwood backwaters of the moonshine states of Kentucky, North Carolina, and Tennessee in the late 1950s, with added cult-movie drive-in status and plenty machine action and moody maleness, old and young.

It's a noirish crime story with more than just a few late period swiping stabs at the style.

Boy must ya hate 1958 and this movie which opens with the banjo pickin moan of authority that complains millions of dollars are lost to the treasury through taxation each year by means of the power of illicit whiskey, boo hoo. Who cares!

The Big Shot (1942)

The Big Shot (1942) is a Warner Bros. three-time-loser prison break couple-on-the-run innocent-man-convicted heist and gangland crime film noir thriller with Humphrey Bogart as the sympathetic gangster mob boss hero and Irene Manning as the woman he loves.

As any canon of work relies on trope and recognition, trope and repetition, all of which should be traceable back into the originating myths of its society, here is an archetypal late 1930s tale of motor madness, criminal expression, and the determination to go straight.

The latter is one of the greatest themes of the era. There were men who were innocent caught up in crime, there were veterans returning from the moral order of war to the confused criminal urban environments, and there were the charismatic guilty, who try as they might, could not avoid crime.

Step by Step (1946)

Step by Step (1946) is a returning veteran post-war Nazis-in-California espionage and action thriller chase murder fugitive romance on the run film with noir qualities, and the amazing bodily properties of Lawrence Tierney, a truer man of film noir there rarely was, with this little coastal corker as one of his finest cracker crazed noiresque outings.

It Happened One Night (1934) properly introduced the couple-thrown-together trope, and it is true that this semi-noir Step By Step proves what a confused year 1946 may have been as it does indeed feature screwball elements, in light dashes, such as Anne Jeffreys in military uniform, and some carrying-across-the-threshold romance style of jinx.

The Shop at Sly Corner (1947)

The Shop at Sly Corner (1949) is a lightweight Limey mystery film noir with a pleasant historical creep factor and an antiques business setting, featuring a psychopathic Pinkie-like young shop boy on a noir rise to power over the mild mannered walrus faced character actor stylings of Oscar Homoloka

The Shop at Sly Corner is based on a play by Edward Percy, a Conservative MP, which debuted in London in May 1945 and received positive reviews, with Variety praising it as "good theatre." 

The play enjoyed a successful two-year run in London, generating a significant profit for its investors after an initial production cost of just $12,000.