The Mummy's Hand (1940)

The Mummy's Hand (1940) is a fun flick follow up but not sequel Universal Classic Monsters US horror chiller mummy film directed by Christy Cabanne and produced by Ben Pivar, about the ancient Egyptian mummy of Kharis (played by Tom Tyler), who is kept alive with a brew of tana leaves by The High Priest (played by Eduardo Ciannelli) and his successor Andoheb (played by George Zucco), which used stock shots taken from The Mummy (1932), leftover sets from James Whale's film Green Hell (1940), and musical scores almost entirely lifted from Son of Frankenstein (1939). Wallace Ford and Cecil Kellaway play incredible acting roles keeping the show going, indeed this may even be a Kellaway classic. 

Love Letters (1945)

The beauty of a Joseph Cotten Jennifer Jones season, the emphasis upon this magical pairing.

Love Letters (1945) is a William Dieterle returning veteran amnesia romance and pin-up-girl-of-the-soul World War Two GI murder and rural English idyll magical psychological film noir mystery and identity power of the written word and Ayn Rand scripted variation on the 1940s paranoid woman flick in which a woman is gaslighted into happiness and madness and much more besides, and is a classic Joseph Cotten and Jennifer Jones feature, we like them together very much. 

Portrait of Jennie (1948)

Portrait of Jennie (1948) is a supernatural romantic drama artist-as-hero sepia black and white and at the same time technicolor David O. Selznick in the tradition of quality vehicle for Jennifer Jones magical and strange high-value and purified mystical love movie mad hard upon the crest of the film noir wave and so shares not a few virtues with that immortal form, the noir, the form by which it shall today be judged.

For it is a film not necessary of noir, but yet does look to the most over stylised elements of our favourite film language, in fantasy and in shadow.

Johnny Trouble (1957)

Johnny Trouble (1957) is not a film noir despite its posturing title and potential eagerness to be classed as such using the classic Johnny ― Noir naming motif.

Instead Johnny Trouble is a softly presented teen tearaway inter-generational whimsical drama about one elderly lady's grief and her longing for a society and a family in which everything will turn out all right.

The elderly lady in this matter is none other than Ethel Barrymore and this was her final film role which does lead to some interesting places including a fond fade to farewell when she bows out as well as