Champion (1949)

Champion (1949) is a sports-noir drifter narrative boxing film noir rags to riches drama of hubris and corruption, starring Kirk Douglas as a one time bum who finds he is a great boxer, and makes an all-American stab at gaining the all-American system of fight-rigging, mobsterism, and big sport gambling and media.

A remarkable and entertaining vehicle for the young Kirk Douglas, for whom this was a certain break-through role, Champion (1949) is not lauded much as a great noir, although it is, with first rate performances and high drama and emotion, sweeping through much of American social systems and presenting as well as any other high-period film noir does, the story of the individual against himself, against the country, against the insurmountable cruelty and manipulations of the system that elevates sport to the wild, corrupted and abusive focal point of life it will become.

The Lady Gambles (1949)

The Lady Gambles (1949) is a gambling addiction, social and moral descent romance women's film noir starring Barbara Stanwyck, turning in a stunning and brutal performance as a woman who is overcome with addiction, so as to the point of ruination.

As the film opens prepare to see Barbara Stanwyck punched 11 or 12 times in the face by three mooks in an alley, each bruising face-breaking blow leaving a great ouch across the style. It has to be one of the more terrifying noir beatings.

This leads to a hospital managed by a cynical hard smoking medical stoic played by John Hoyt, and the whole flashback, fading screen, voiceover here-is-how-it happened commences, and Double Indemnity style, the story unravels, although it ain't such a hot story.

Murder, My Sweet (1944)

Director Edward Dmytryk is something of a film noir hero.  Born in Canada in 1908, the son of Ukranian immigrants, he was raised in California and began working in the Hollywood studios as a teenager.  From 1935 to 1942 he directed a few B-pictures, but his breakthrough came in 1943 with the anti-Nazi propaganda piece, Hitler's Children.

The two noirs he made after this, Murder, My Sweet (1944) and Cornered (1945) secured his home in the noir canon, and this was followed by the excellent Crossfire (1947), possibly the first Hollywood picture to deal with the subject of racism.

As a left wing liberal however, Edward Dmytryk was one of the first to fall foul of film's furious foes at HUAC, and he became one of the Hollywood Ten for refusing to testify about his so-called un-American activities.