Yield to the Night (1956)

Yield to the Night (1956) which is also known by its US release title Blonde Sinner is a classic film noir Limey death row female criminality flashback and voiceover murder exploitation lousy husband prison movie with a mean prison warden trope and revenge thriller element and with a confused fixation on women's legs, and is most overall best enjoyed as a incredible and felt performance from Diana Dors, and showing as it does the descent to madness through lousy husbandry and mannishness in general, was directed by J. Lee Thompson, and includes many sympathetic character acting performances and otherwise strong supporting acting from all and among others Yvonne Mitchell, Geoffrey Keen, Michael Ripper and Marie Ney, and Michael Craig as the lousy Jim Lancaster.

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. 

Man Bait (1952)

Man Bait (1952) is an exceptionally literal title for a film that appeared with several different titles ― none of which were any cop in the film noir title stakes. 

With every passing year, as film grew in popularity as a method of impregnating global minds with ideas of sexuality, more morality for girls was forged on the screen.

Sexuality was in the air, and film noir tells of its dangers, the dangers of crime and crime's links to sexuality; it tells of of sexuality and sexuality's links to crime; noir tells of sexuality's exposure of male morals to catastrophically attractive female beauty, and everybody's inability to cope with the results.

This is in fact what film noir does best; it destroys the surface currents which pull us a long, dragging hapless males and sexualised females to the bottom of a vortex from where no one will emerge happily married.