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. 

Appointment With Crime (1946)

Appointment With Crime (1946) is a British gangland revenge thriller Limey film noir with a sweet and vile sharp noir edge indicating that the forties filmers of the United Kingdom has been paying attention to the American noir reels, enough to encapsulate and imitate and transplant some of the best noir tropes from one side of the Atlantic to the other, and so with wrist torture, sore wrists, and all manner of wrist attack upon William Hartnell's villainous and hard done by wristless crook.

William Hartnell plays as cool calm and smokin twisted career criminal who like any true anti-hero villain has a peculiar facet or obsession, and in this case it is his wrists.

Hell Drivers (1957)

Hell Drivers (1957) is a blue-collar ex-con high energy British exploitation truck noir tale of violence, corruption and the unscrupulous carriage of aggregates across small distances within the British countryside.

Stanley Baker as per the script of this still popular tale of truckery does the ex-con going straight routine with heavy nods and grave expressions from start to finish, indicating that he has been 'away' and that he has been living 'here and there' and doing 'this and that' while being from 'around' and having lived at 'around' for several years.

It isn't really full explained what this ex-con with an upright galvanised steel morality did to wind up in prison, but we know that because of his escapade he did one year of time, although more meaningfully, it seems that his younger — brother played by the mysterious Klae Corporation's very own invisible man David McCallum — seems to have been permanently injured during the crime, and reduced to working in his mother's Welsh corner shop for life.

The Seventh Veil (1945)

The Seventh Veil (1945) is a variety of woman’s film. 

This may sound dismissive but the so-called 'woman's picture' is a sometimes unacknowledged genre from in particular the 1940s, a similarly themed series of films which focus on the mental health of domestic, middle class women. 

Often the women in these films are prisoners, either physcial or mental, or as here ― both. 

Because of this, these heroines are also generally quite paranoid.

You can tell The Seventh Veil is one such ‘paranoid woman film’ because of how it opens ― a woman in a sick bed. 

It’s Ann Todd (playing Francesca) and she is in the traditional pose of the ‘sick’ woman, in a bed, asleep one second, and the next frighteningly alert to the disturbances of her mind. 

It doesn’t matter necessarily that this bed is in a sanatorium ― these beds are just as often in houses, generally creepy, weird houses, but domestic situation nonetheless.

Night and the City (1950)

Jules Dassin's Night and the City (1950) is a cinematic excoriation, a nocturnal fugue of failed aspiration, doomed enterprise, and lurid spectacle. This British-American hybrid noir, directed by an expatriated American director fleeing the sordid tribunal of the House Un-American Activities Committee, coalesces around the jittery figure of Harry Fabian—a human perversion of motion itself. Played with convulsive energy by Richard Widmark, Fabian is a miscreant whose ambition corrodes every surface it touches. In his breathless pursuit of legitimacy through London’s professional wrestling underworld, he performs a danse macabre before the abyss.