The Fountainhead (1949)

The Fountainhead (1949) is an Ayn Rand adaptation and scripted hyper-melodramatic didactic economics and social science charged pre-post modern pre-relativist objetivist and more than just a little film noir tinged melodrama of rags to riches UnAmercian Dream-style semi-speculative cross class dedication to art and architectural and individualistic vision unromantic romance set-up with its no promises and no obligations ultar-objectivist marriages alternate reality white suprematic media manipulation and propagandist anarcho-capitalist post-communist anti-communist media demagogue public opinion forming artisitic vindication of terrorism in the name of individualism impotent platonic-erotic love triangle drama directed by King Vidor and starring Patricia Neal, Gary Cooper, Raymond Massey, Kent Smith, Henry Hull, Moroni Olsen und Ray Collins, yah, Ray Collins is in this film produced by Henry Blanke.

Portrait of Jennie (1948)

Portrait of Jennie (1948) is a supernatural romantic drama artist-as-hero sepia black and white and at the same time technicolor David O. Selznick in the tradition of quality vehicle for Jennifer Jones magical and strange high-value and purified mystical love movie mad hard upon the crest of the film noir wave and so shares not a few virtues with that immortal form, the noir, the form by which it shall today be judged.

For it is a film not necessary of noir, but yet does look to the most over stylised elements of our favourite film language, in fantasy and in shadow.

Man with the Gun (1955)

Man with the Gun (1955) is a lone gunfighter town in distress drifter narrative gunslinger and anarchy western with noirlike tones, and starring Robert Mitchum and Jan Sterling.

In the scorched townscape of Sheridan, 1955’s Man with the Gun offers a monochrome portrait of institutional paralysis and a solitary man’s iron remedy. 

At the heart of this tight-lipped Western, Robert Mitchum stalks the frame with coiled menace as Clint Tollinger, a man whose profession is extermination. 

Colorado Territory (1949)

Colorado Territory (1949) is a Raoul Walsh train-heist noir western remake of the director's own class act 1941 film noir High Sierra.

Colorado Territory is a fun-laced trawl through the mental badlands of the noirish west making live action commitment to many facets of the styles beloved of the era, both the noir, and the west, the male staples of the period.

Raoul Walsh's Colorado Territory (1949) is, yes here we are to say it for once and for all, my God it doth do stand as a testament to the director's ability to transmute his earlier noir creations into the stark, rugged aesthetic of the Western genre. 

Rimfire (1949)

Rimfire (1949) is a shoddy wild west justice undercover cop revenge journalism and media mystery semi-supernatural ghost of a gambler low budget thriller western film noir starring Reed Hadley, and directed by B. Reeves Eason.

Eason, who directed his first film in 1915, proving something about the Hollywood machine, and it must have been wonderful for him to see it in these glorious nascent and then silver and golden stages. This film starts too with a stage, a rather arbitrary and somehow unexciting stagecoach chase, which trails round the bends in a high speed action for the sake of action-sequence.

Lifeboat (1944)

Lifeboat (1944) is an Alfred Hitchcock John Steinbeck wartime drama-of-limited-setting Nazi paranoia romance with occasional noir reminiscent moments and qualities, although largely a stand alone and unique tension and romance drama of amputation and elegance, class-clashes and peril.

Directed by Alfred Hitchcock,  ce filme la the awesome and always enjoyable and atmospheric Lifeboat is a gripping American survival film based on a story by John Steinbeck. Set entirely on a lifeboat adrift in the Atlantic during World War II, the movie explores the complexities of human nature under extreme circumstances.

The film opens with the aftermath of a naval battle: a British ship and a German U-boat have sunk each other. Eight survivors from different backgrounds find themselves crammed into a lifeboat. Among them is Willi, a German U-boat crewman who is pulled aboard.