The Sellout (1952)

The Sellout (1952) is a journalism and media small town crooked cop courtroom and corruption kangaroo and criminal court repping high class low profile film noir drama.

Little known and little loved The Sellout (1952) is a film noir gem, and buzzes with tension and all the undercurrents of psychological and physical force that noirs up the focused greed and determination of the rounded and flawed characters of its small town setting.

Jigsaw (1949)

Jigsaw (1949) is an unusual and at times outré mystery chase hate-group propaganda versus journalism, journalism and media film noir, starring Franchot Tone as a detecting assistant district attorney, on the scene and hunting for what might be called neo-fascists, or perhaps simply more likely, just fascists.

None of that was really truly departed for the future, after all, not even by 1949. And what is and was and what became and what now is fascism, and what the definitions of fascism are and might be, are all questions much relevant to film noir.

Jigsaw (1949) is an entertaining thriller that’s so over-the-top, you can’t help but overlook its far-fetched plot and be grateful for the fun it brings. It’s a film that’s as strange as they come.

Citizen Kane (1941)

Citizen Kane (1941) is not considered to be an example of film noir and yet there would barely be one reel of classic film noir at all were it not for this American drama film directed by, produced by, and starring Orson Welles.

Also starring Joseph Cotten and the players of the Mercury Theatre Citizen Kane appears right at the start of the great film noir years, and was released in same year as The Maltese Falcon, High Sierra and I Wake Up Screaming — all of which are full fat noir, proving the style was already underway.

At the same time, there's a case to be made for the fact that Citizen Kane is the archetypal, primal, principal and inceptive American film noir production.

Citizen Kane is not a crime film and does not feature any murder, femmes fatales, post-war anxiety, paranoia or otherwise any saps, heels, mooks, cops, roscoes, police procedural brutality or wandering palookas astray in an alienating urban environment.

Journey Into Fear (1943)

Journey Into Fear (1943) is a World War II cat and mouse espionage noir Jospeh Cotten tramp-steamer assassination thriller which although directed by Norman Foster feels mysteriously like like the work of Orson Welles!

The film was based on a popular Eric Amber novel, the rights of which RKO had bought in 1941 intending to use it as a vehicle for Michèle Morgan.

Ben Hecht was signed to write the script, and Robert Stevenson was to direct and David Hempstead to produce. Fred Astaire was discussed as the male lead —  as was Dennis O'Keefe.

Eventually Joseph Cotten was assigned the lead on the basis of his performance in Citizen Kane. and in July 1941 it was announced that Orson Welles would play a lead role and direct the film, following completion of his second movie, The Magnificent Ambersons. So Orson Welles was on board! 

The Lady From Shanghai (1947)

The Lady from Shanghai is a 1947 classic drifter murder mystery adventure frame-up film noir directed by, written by, and starring Orson Welles and co-starring Welles's then-wife, Rita Hayworth. 

It is based on the novel If I Die Before I Wake by Sherwood King.

A classic film noir for certain, and a legendary production, the sensibility of Orson Welles tipping again towards the joy of genius in the later 1940s.

As a film noir The Lady From Shanghai (1947) is a self-conscious exemplar of the style, throwing in further hints of Joseph Conrad, amid darkness and deceit, and the weary anti-hero — a romantic Irish drifter-writer figure created by Welles, a man who moves on a whim, cynical and attractive, individualist artistic type.

Plenty camera love is devoted to photographing Rita Hayworth and it may be among the most erotic photography of the decade. Combined with heat, deceit and rancour it makes for an exciting look, fore fronting sexual desire.

The Enforcer (1951)

Who is The Enforcer?  

Is it Humphrey Bogart who plays District Attorney Martin Ferguson, the guy who enforces the law, slapping hoods where necessary, an enforcer of morals in a sick crime game?

Is The Enforcer Everett Sloane as Moriarty-like mastermind Albert Mendoza, a man so feared in the city that even the mention of his name enforces a certain silence, an absolute fear, the inevitability of a violent death? 

Or is The Enforcer tough guy turned snivelling snitch, Rico, played by Ted De Corsia, whose king-pin status keeps the whole racket going; Rico who enforces the deadly conviction of the mysterious boss man, until his own nasty death?

It is not possible to keep track of the flashback-cum-story within a story structure of The Enforcer.  The first ten minutes take place near the end of the story, and from thence the editor dives to the start, periodically dipping further into the past as hood and victims tell their stories, generally to Ferguson, the character played by Bogart.