The Badlanders (1958)

The Badlanders (1958) is a Metrocolor western caper-style heist and western action romance and crime and camaraderie thriller remake directed by Delmer Daves and starring Alan Ladd, Ernest Borgnine, Anthony Caruso, Kent Smith, Katy Jurado and Claire Kelly, highlighting Mexican immigration issues and general western greed, local bullying  and cruelty. It is the second film adaptation of the novel following 1950's The Asphalt Jungle. Anthony Caruso was also in the original version of the film, playing the safecracker, Ciavelli.

I Want To Live! (1958)

I Want To Live! (1958) is a defiant female lead victimisation of women habitual female criminal courtroom and prison death row journalism and media crime and exploitation based on a true story biographical Robert Wise Oscar winning anti-capital punishment tragedy masterpiece considered by many to be a classic film noir starring Susan Hayward in a once in a lifetime Oscar winning showdown with your senses, with Simon Oakland, Virginia Vincent, and Theodore Bikel.

Violent Playground (1958)

The Basil Dearden season continues, presenting many noir-adjacent films that are more the by product of the medium than its core element, dealing with teenage, social and criminal problems and the police effort to present social reason for the increasing use of machine guns by school students.

Violent Playground (1958) is a Basil Dearden teenage tearaway race relations British battle of wills between a Liverpool Juvenile Liaison officer and a young and dangerous pyromaniac rock n roll social problem picture movie response to the alarmist, hugely successful teen melodrama The Blackboard Jungle (US, 1955) James Kennaway scripted inspired by an actual experiment that was carried out in Liverpool in 1949 late period Limey noir crime and civic anxiety fusion and social confusion picture starring Stanley Baker, Anne Heywood, David McCallum, Peter Cushing, John Slater and Clifford Evans.

From the Earth to the Moon (1958)

The Cotten Sequence, or Joseph Cotten Season, proceeds with understated poise, its pleasures evenly shared, although obliging us to view this non-noir folly of fifties fantasia and filmation, we are not always best delighted.

From the Earth to the Moon (1958) is a Byron Haskin Jules Verne Civil War space rocket science fiction revenge and rivalry sane scientist drama featuring a cold war mutually assured destruction power that can destroy the earth action special effects adventure movie with Joseph Cotten, Debra Paget, George Sanders, Byron Haskin, Henry Daniell, Carl Esmond and Morris Ankrum. Oh cielo, questo non è un film noir!

Touch of Evil (1958)

Touch of Evil (1958) is an Orson Welles late noir period border-hopping cinema-literate classic film noir marvel of visual architecture and one of the high cathedrals of twentieth-century film, an orgy of chiaroscuro light and shadow, carefully calculated mise-en-scène, and baroque camera movements so aggressive they seem on the verge of toppling the frame. 

If it lacks the gravitas of Welles' debut, it compensates by revealing a director entirely freed from the burden of prestige, indulging instead in excess, sleaze, formal genius, and creative destruction. It is a masterclass in cinematic rule-breaking that turns every aesthetic choice into a moral judgment.

The Fly (1958)

The Fly (1958) is not a film noir. C'est pas un noir La Mouche.

The Fly (1958) is a classic nascent colour monster body horror early horror period monster thriller with legs, six legs in fact, all connected to its thorax, and those six legs are out of control science in the optimistic 1950s; gendered and queer multi-image vision of swarm politics; tragic pathos in the abject pursuit of individual destiny over marriage and family; a Lacanian mirror stage, gaze and castration anxiety Name-of-the-Father explosion of fear write large and technicolor; a biopolitics state of exception, killable life and mercy outside the law melodrama; a promissory technoscience, normal accident and precaution and public ethos thriller presentation; and a teen coming of age date and horror exploitation fantasy.

King Creole (1958)

King Creole (1958) is an Elvis Presley Michael Curtiz rock n roll noir juvenile tearaway love and crime street tough southern violent young love tale of parental and filial failure in the homes and streets and schools of 1950s America.

If there should be a place, a note on celluloid, where Elvis and film noir should meet, then King Creole will be that. It was always your favourite Elvis film and while it is good for an Elvis film, nay in fact a veritable Citizen Kane of Elvislry compared to most of the mush he filmed, and despite hosting Michael Curtiz in the master's chair, it is still not so great a movie. We may force a noir pairing with Jailhouse Rock (1957). The film that took youth culture to prison.

Chase A Crooked Shadow (1958)

Chase A Crooked Shadow (1958) is a paranoid woman assumed identity deceit and fleecing meticulous murder chamber drama British film noir with subverting notions of expectation as well as dark and shadowy double-play and in this case situated on coastal Spain, starring Anne Baxter as a typically doubting covers-gripping shocked and terrified femme indoors, with a special twist, and a great cast of Alexander Knox, Herbert Lom, Richard Todd and Faith Brook.

Michael Anderson's 1958 suspense thriller Chase a Crooked Shadow is a taut chamber drama that simultaneously flaunts its artificiality and derives power from its formal claustrophobia. Conceived as a British answer to the Hitchcockian mystery, the film cloaks its familiar conceit in an elegant mise-en-scène and haunting moral ambiguity. 

High School Hellcats (1958)

High School Hellcats (1958) is a teen rebellion bad-girl high school youth exploitation movie which is an integral part of the American International Pictures juvenile delinquent series of releases of the late 1950s, bridging the gap between late noir and the full blown counter-culture of the following decade.

For those curious about the bad behaviour of these high school hellcats, one need look no further than the prison movies of the film noir era, or some further back into the male rebellions of the 1930s, and 1940s, with sullen and cynical rebellious behaviour, it actually as if the teens did learn from the noirs how to tear it all down.

Thunder Road (1958)

Thunder Road (1958) is a free-wheeling and lurid hillbilly noir drama thriller about the moonshine business and a crazed item of uber-engine-block-rockin fun and double Mitchum-based racing madness and mannish boyhood aggression among the backwood backwaters of the moonshine states of Kentucky, North Carolina, and Tennessee in the late 1950s, with added cult-movie drive-in status and plenty machine action and moody maleness, old and young.

It's a noirish crime story with more than just a few late period swiping stabs at the style.

Boy must ya hate 1958 and this movie which opens with the banjo pickin moan of authority that complains millions of dollars are lost to the treasury through taxation each year by means of the power of illicit whiskey, boo hoo. Who cares!

The Case Against Brooklyn (1958)

The Case Against Brooklyn (1958) is a crooked cop police procedural crime-syndicate corrupting city officials style of late film noir cycle rookie-cop-taking-on-the-system style of bribery thriller drama from Paul Wendkos, who went on to direct many a cop and comedy TV and movie thriller up until the 1990s, and indeed many other kind of 80s and 90s era TV movie fare.

The 1958 noir film The Case Against Brooklyn offers a semi-gripping portrayal of systemic corruption within the police force and the criminal underworld. Directed by Paul Wendkos and based on a real-life article by investigative journalist Ed Reid, the film is a film noir sensational guarantee that Hollywood will pretend to offer a reminder of the ethical dilemmas and personal sacrifices involved in exposing organized crime.

Terror in a Texas Town (1958)

Terror in a Texas Town (1958) is an extended flashback wild west whaler revenge tale of corruption and gun slinging oil grabbing landlordism and violence, created in the wake of the HUAC hearings which terrorised and attempted to sterilise and de-communise the media of the 1950s.

A low budget western with a deep moral message, Joseph H. Lewis’s Terror in a Texas Town (1958) is an underappreciated Western that defies many of the conventions typically associated with the genre. At first glance, it may seem to be yet another run-of-the-mill B-western, but beneath its low-budget exterior, the film raises deeply disturbing questions about justice, morality, and societal complicity.

I Married a Monster from Outer Space (1958)

I Married a Monster from Outer Space (1958) is a lousy husband horror science fiction suburban film noir frightener which owes more to the scare of women and their assertive good sense beauty and civil morality, than it does to the Red Scare which may have inspired it.

The 1958 American horror science fiction film I Married a Monster from Outer Space produced and directed by Gene Fowler Jr. for Paramount Pictures, features Tom Tryon and Gloria Talbott.

Attack of the 50 Foot Woman (1958)

Attack of the 50 Foot Woman (1958) is a nuclear-age gender exploitation science fiction cheapo horror and melodrama tale from the high period of fun fifties sci-fi shockers.

Better still, with its high drama in every scene and the sensibility-laden dark pasts of its characters  Attack of the 50 Foot Woman (1958) has a film noir sense to it, mildly reminiscent of some of the mightier classics of the form as recently best exemplified in Kiss Me Deadly (1955).

In a twist reminiscent of The Incredible Shrinking Man, the shrink n grow trope of the era as super-excited by the atomic atoms in the airbflips the script by featuring a character zapped with a growth ray set to "Grow" instead of "Shrink." However, this newfound size comes with enormous challenges for the protagonists to overcome.

The Badlanders (1958)

The Badlanders (1958) is a western revenge noir which bills as a bold reinterpretation of the timeless classic The Asphalt Jungle (1950) reimagined against the rugged backdrop of the Wild West.

In this cinematic tapestry, the echoes of the past reverberate across the sun-scorched plains, as the sins of the urban jungle find new life amidst the untamed frontier.

Drawing inspiration from its predecessor, The Badlanders makes moves to homage to the gritty realism and moral ambiguity that defined its predecessor. Yet, with a daring shift in setting and tone, the film breathes new life into the familiar narrative, imbuing it with a sense of vitality and urgency befitting the rugged landscapes of the West.

Party Girl (1958)

Party Girl (1958) is a brassy blast of 50s technicolor dance and jealous showgirl murder misogyny film noir.

Directed by Nicholas Ray and starring Robert Taylor, Cyd Charisse and Lee J. Cobb, and filmed in CinemaScope, Party Girl celebrates like few other mediocre classics, the gazing male and the prancing half naked female, along with such blasts of wowed brass instruments the sound of those fat horns lingers painfully after the fact.

The movie we are talking about describes a perspective often portrayed in media and art that tends to objectify and depict women from a particular viewpoint. 

This perspective often emphasizes certain physical attributes or characteristics of women, positioning them as objects of desire rather than fully realized individuals. 

Murder by Contract (1958)

Murder by Contract (1958) is classic hitman film noir starring Vince Edwards and directed by Irving Lerner. Academy Award-nominated screenwriter Ben Maddow did uncredited work on the film which looks at an existentialist and nihilist hit man assigned to kill a woman.

Famous for its brand-new-at-the-time raw style, employed by Irving Lerner, Murder By Contract is considered a B-movie classic, lauded by Martin Scorsese and others for its almost home-made independent style. 

It’s a little like Allen Baron’s Blast of Silence insofar as everything that it lacks in polish, it makes up for in commitment and style.

Vertigo (1958)

Vertigo (1958) one of the greatest and best known of Alfred Hitchcock's films is also at its heart in the classic film noir tradition.

This psychological fantasy in full colour is probably one of the greatest and more ravishing Technicolor films ever produced, and so it does not perhaps fit the full film noir bill with its vibrant shades of rose and green.

The paranoia is real as is the preposterous fantasy elements, which if anything work against Vertigo because full-on colour like this, and most especially in its many splendid exteriors, are suggestive of a more real milieu.

The story is one of murder and madness, of weakness and psychological manipulation, and as often with Hitchcock, the ongoing manipulation and cruelty to women, who are judged poorly by men - - and it is all wrapped up in suspenseful storytelling and mystery.

The full whack of the psychological thriller film directed and produced by Alfred Hitchcock has become immortal in this picture. 

Cry Terror! (1958)

Cry Terror! (1958) is an end-of-film-noir cycle home-invasion paranoia thriller, starring James Mason, Rod Steiger, Inger Stevens and Angie Dickinson.

There is terror to be cried about in the air too, as well as the home, as Cry Terror! is one of the first films to have a good look at airline security. As the American world and all its dreams came together in the 1950s, so the seams of those dreams split, and out oozed film noir.

Everything that remains unspeakable as an aspect of the all-American dream, can be found in film noir.

So as the film noir cycle ends, there are a couple of new appearances on the psychological landscape of the USA. One is the threat of nuclear war, as began its life in the film noir favourites at the end of that decade, for which see Kiss Me Deadly (1955) for more.

Another may be the threat of teenage rebellion, which picked up speed in this decade; as did the threat of terrorism.

The Fearmakers (1958)

The Fearmakers (1958) tells a wonderfully revealing story of war, of advertising and the obfuscation of the line between corporate and government life.

Despite quality issues and any stand out cast performances, The Fearmakers also sounds an early alert concerning the war on the public that has become a ubiquitous feature of modern living.

Because of course, if it was unseen in the 1950s or 1940s, and if it was criminal, psychological and at odds with the public vision, it was going to be a subject of film noir.

There seems something peculiarly prescient about The Fearmakers, even if it is a part of the obsessive hunting of Communists that took over American public and cultural life in the 1950s. 

The real threat to freedom and civil society were already at work in the 1950s however, and The Fearmakers is a great introduction to the science of public relations, which had already been perfected over several decades and through World War Two, before it began to be used out in the open, in the form of political theatre.