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I'll Be Seeing You (1944) is a returning veteran PTSD Christmas romance and recovery lost souls and trauma themed prisoner of love during wartime date rape drama of past secrets and emotional struggle, voiceover, and prison movie of a kind, starring Ginger Rogers and Joseph Cotten, as well as Shirlet Temple, directed it is said by both William Dieterle and George Cukor, and produced to the high emotional standards of David O. Selznick, and while not in sense nor measure nor capacity nor style at all a film noir, is a film which does feature a manslaughter or murder and clings close to themes of PTSD and past secrets, most darkly and commonly explored by film noir at this moment, and so with Joseph Cotten commanding an excellent performance, and Ginger Rogers excellently exploring violence against women and rape culture, is clearly an honorary film noir.
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For example, Native Americans have never and would never refer to themselves as 'Indians', as they do here, even a patent absurdity in 1950.
Anthony Mann’s Devil’s Doorway (1950) is a significant yet underappreciated western film that offers a haunting portrayal of racial discrimination in the American West.
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Richard Conte is the star of the show and its his story we follow as he smoothly and suavely negotiates this house of would-be strangers, acting as his own father's attorney in the courtroom and beyond, convinced that his rich and domineering banker of a dad is innocent of making his fortune on the backs of the misery of others.
This misery is present as usury, played out by character actor Tito Vuolo, the man who became the stand-by Italian American in many a film noir.
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With Joan Crawford and an incredible four husbands in one movie, there are questions galore in the damned darkness of The Damned Don't Cry (1950).
Joan Crawford's character starts with a husband that she does not rate, even though it is Richard Egan. But he's too controlling and penny-pinching for her, and she is a film noir hero for whom enough is not enough.
Rephrasing that, this is a common enough film noir lesson: you are not satisfied with your mediocre and quotidian suburban working life, or as in this case, a rather blue collar existence on an oilfield.
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Directed by John Brahm Singapore is an enjoyable mix of movie exotica — the style which clichéd the best of the rest of the globe and brought it to Hollywood, minced it, encoded various messages concerning foreign policy and international relations — and presented it on the screen
Despite being a post-World War II drama set in Singapore, there isn't much that one can learn about the Fall of Singapore and the rebuilding of the island country and city-state in maritime Southeast Asia, which took place after 1945.