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Yet Two Smart People (1946) does find its way on to our radar screens, not in the least because it is directed by film noir scion Jules Dassin, making of it Grade-A material for our investigative teams of ardent noireaux.
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Packed with fun, action and menace, and oddly replete with cinematic meta-mechanics, Dillinger (1945) cannot be flawed for anything other than historical accuracy.
Historical accuracy might have gone against the grain, too. The minute makers of 1945, fresh off the tracks of the great crime film experiments of the 1930s, which incidentally probably amount to the greatest body of work of 1930s cinema, were imminently to collide with state forces and the Production Code was in fullest sway, and so accuracy might have been well sacrificed.
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The screenplay was written by Daniel Taradash, based on the 1951 novel Mischief by Charlotte Armstrong.
In the picture, Monroe plays a blinder as a disturbed babysitter watching a child at the same New York hotel where a pilot, played by Widmark, is staying.
He starts flirting with her, but over the evening her strange behaviour makes him increasingly aware that she is most mentally disturbed indeed.
Marilyn Monroe's better known for any number of reasons, but often these reasons are not acting. Here she plays Rose Loomis, she’s got scars on her wrists, a past as murky as the Hudson River, and a penchant for trouble. Rose is the niece of the hotel’s elevator man, a guy who knows more about the guests than the bellhops know about their tips.
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Accused of Murder emerges from the shadows of 1950s American cinema as a non-quintessential example of the film noir style, directed with precision attention to color and its processes by Joseph Kane and featuring a semi-stellar cast led by David Brian, Vera Ralston, and Sidney Blackmer.
At the heart of this Republic Pictures produced and distributed work of noir art narrative lies the enigmatic figure of nightclub singer Ilona Vance, portrayed with captivating allure and alluring captivity by Ralston. When crooked attorney Frank Hobart meets his untimely demise, all eyes turn to Vance, the last person to have seen him alive. As the accusing finger of suspicion points in her direction, Vance finds herself entangled in a web of deceit and intrigue, fighting to clear her name and unravel the truth behind Hobart's demise.
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It is based on the 1950 book Chicago: Confidential! by Jack Lait and Lee Mortimer.
Chicago Confidential was the first film produced for Edward Small by Robert E. Kent, who had been a writer and story supervisor at Columbia. Small and Kent went on to make many movies together.
The movie is known for its crime-drama narrative and is set against the backdrop of organized crime in Chicago.
The story revolves around a crusading attorney named Jim Fremont, played by Brian Keith. Fremont is determined to take down the organized crime syndicate that controls various aspects of Chicago's business and political landscape. The narrative unfolds as Fremont gathers evidence to expose the corruption within the city.
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Directed by Howard Hawks, an apogee of the 1940s expression of crime, sexuality, and everything that film noir stands for, The Big Sleep almost defies description in terms of its script, perhaps down to the fact that no final script was truly ever available during its initial shooting, and then the film was delayed, due to a backlog of war related films which needed to be released and out of the way.
Between principal work in 1945 and release in 1946 footage was condensed, altered and eliminated and new footage had been added. The film was released to capitalise on the publicity already generated by the Hollywood romance between Lauren Bacall and Humphrey Bogart — the She and He of film noir and one of Hollywood's most celebrated couples.
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As well as a cast including many of the styles favourites, from Sterling Hayden and Elisha Cook Jnr, through Marie Windsor and Jay C. Flippen, to Ted de Corsia and Joe Sawyer, The Killing is a kind of celebration of the style like no other.
It was in fact possible by 1956 to make almost consciously film noir pictures. The themes of robbery, lust and anti-social activity are there, and like some truly epic expressions of the style, there are no good people to talk of in here.
In fact possibly the only good character is the wife of one of the villains, portrayed as unwell and blind, and the reason for this man's turning to crime.
A man tumbles out of the door and slides and slithers down two flights of stairs and is stone-cold dead when he hits the bottom.
There now follows an hour and a half of flashback and flashbacks-within-flashbacks about a veteran returning from the war, tired and disillusioned, only to find that he girl he loves has lied to him about her relationship with another man, and that man she now cares about is sadistic and pretty much an all-round cad.
Although not one of the best known in the canon, the film noir credentials of The Long Night (1947) are supreme ― sublime to say the least. As well as featuring Vincent Price, warming up to become one of the great pantomime movie villains of the century, this was also Barbara Bel Geddes’ first film roles.
Then there is Henry Fonda ― superb to watch, even though he is not one of the crowned kings of film noir. Still ― he has plenty to offer here, in what we’d like to christen as the ‘sap-in-a-cap’ style of film noir acting.
Let the sap-in-a-cap flashback begin.
Despite spectacle, stories and such technical attributes as lighting and special effects, it’s a comfort that the biggest pull in cinema is that vague quantity known as ‘star quality’.
