.png)
.png)
.png)
.png)
.png)
.png)
.png)
.png)
Waterloo Road (1945) presents itself, at first glance, as an agreeably told anecdote of domestic turbulence during the Second World War, yet such phrasing obscures the severity of its intervention.
.png)
.png)
This film has an Alfie Bass bonus. It has a Bill Owens count that is among the highest in film noir.
.png)
Super strong in its categories, this noir is nearly a classic film noir, and maybe even is such, certainly it is a class film noir, if not a classique. Close up paranoid photography and murder, newspaper men against the odds, small town atmosphere to perfection and an intriguing thug hood and mookery-style delivery under professional organised crookery.
.png)
.png)
One of the most intriguing questions regarding Leave Her To Heaven (1945) is why it was Twentieth Century Fox's highest grossing film of the decade.
.png)
That can be said because 1950s noir, and noir of 1955 and beyond, did tend toward production with a television set in mind, and Kubrick's take, while featuring television as a minor but key plot component, does lean with an artistic eye into the shadowy roots of the style, opting into darkness and closed up lighting as a final look.
.png)
The term classic film noir does doubtless evoke as it is intended to do, a series of high powered and famous high stakes noir dramas from the period, usually of eminent structure and production, and preserved by film registries and their buffs, citing such names as Double Indemnity and the rest of the well-trod shuffle of the mighty, while 1945 alone boasts the classics of Detour (1845), Scarlet Street (1945), Mildred Pierce (1945), and The Lost Weekend (1945), yes it's the year that film noir won Best Picture, Best Director, Best Actor and Best Adapted Screenplay at the Academy Awards.
.png)
A wordy, pensive and petulant slow burner of sadness and emotional decline in the frank face of sex, Døden er et kjærtegn (Death is a caress) (1949) runs many a risk of falling a foul of the lack of Americana and the singular lack of a national cinematic voice, in order to achieve its grim ends.
As a noir worthy of any nation, Døden er et kjærtegn (Death is a caress) (1949) is a story freed from World War 2 and shot in a recently occupied country, which might make cause for thought.
.png)
There is a lot to see, not the least of it is Robert Taylor and Vincent price, sitting together and looking so kinda similar that it is not just eerie, but a sign that things are going to be a lot of fun.
.png)
Peter Lorre does manage within the scope of this late period rubble film, to create a most memorable character, although he does so much Lorre drift, peer, stare and smoke, and like all Peter Lorre films, and like all of Peter Lorre's life, the mis en scene is heavy on the cigarette-based action.
.png)
The frightening and exciting weakness of sex was never better shown than in the encounters between Fred MacMurray and a to-begin-with naked Barbara Stanwyck, whom as equals it seems, concoct a murder for the existential fact of morality take over and trip them both up.
.png)
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.