The Killers (1964)

The Killers (1964) is a television-style flashback color Hemingway remake sports motor racing and murder femme fatal and gangster heist fallout and violence against a blind woman Don Siegel almost un- or non-credible cool brutal crime action film noir that is barely a film noir insofar as the noir is far from the habitual armoire of typical style motifs, but is called a film noir nonetheless, with oddly no night time scenes at all, not that excludes it from the film noir category, it is in the style that this nonnoirness nor nihilist nemesis, nor nausea-inducing net of failed morality, but it's crass instead, normal narrative, neatly non-noir, and with the star Lee Marvin and the stars Angie Dickinson, John Cassavettes, and President Ronlad Reagan.

Assassin For Hire (1951)

Assassin For Hire (1951) is a contract killer stricken with remorse murder sleuth and plod procedural family hitman Limey British film noir with Sydney Tafler voicing an uncomfortably cliched and inappropriate Italian accent, a secret life or identity noir, in which, pretending to be a rare stamp dealer, a Tafler man supports his wife, and in an embarrasmenta of mama-style Italiante clichés, his musically talented younger brother, lives a secret nocturnal life as a hitman, nipping out of the same card game at the same café, to bump off unworthy Limey marks.

The Green Man (1956)

A classic in its own style, time and place, and an essential highpoint of any Basil Dearden season.

The Green Man (1956) is splendid if not classic British comedy two act farcical assassination Basil Dearden black comedy about international terrorism with a zany lady orchestrazia, starring Alistair Sim, George Cole, Jill Adams, Avril Angers, Terry Thomas LOL, Dora Bryan, John Chandos, Colin Gordon, Cyril Chamberlain, Doris Yorke, Vivienne Wood, Arthur Brough, Marie Burke, Peter Bull, Willoughby Goddard, Arthur Lowe, Michael Ripper and Terence Alexander.

The Killers (1946)

The Killers (1946) is a classic film noir potboiler western-style revenge movie re-styled in the gangster mold post war study in masculinity flashback within flashback but no voiceover prison boxing crazed love and fatal existential doom laden hitman themed compote de criminalitie and lustful love forlorn longing and rejection, directed by Robert Siodmak, and starring  Ava Gardner, Edmond O'Brien and Sam Levene, with extra noir plus ultra provided by William Conrad, Charles McGraw, Albert Dekker and Jack Lambert.

Suddenly (1954)

Suddenly (1954) is a presidential assassination Lewis Allen home invasion children in film noir classic film noir Frank Sinatra and Sterling Hayden small town crime suspense thriller, which is not only a good time, but a beautiful item of film nostalgia, noir history, cinematic escapism, and an all round document of mid fifties optimism, conservatism, paranoia, and social confidence.

Yeah this is a town in which the lil boys want to be police officers when they grow up. The truth was break America fairly soon, but for the time this suburban aspic is a gelatinous capturing of some of the best known American dream-style tropes, characters and idiomes en scene.

The Man Who Knew Too Much (1934)

The Man Who Knew Too Much (1934) is an Alfred Hitchcock British-period thriller proto-noir proto-Hitchcock proto-innocent person swept up in intrigue psychological and action exciter.

In his contemporary review of The Man Who Knew Too Much (1934), Forsyth Hardy noted the absence of expressive use of sound, especially when compared to earlier Hitchcock works like Murder! or Blackmail. However, while the film lacks overt or showy sound techniques, it marks a significant evolution in Hitchcock’s handling of sound. 

The Whistler (1944)

The Whistler (1944) is a murder-suicide hitman noir and the first of the The Whistler film noir film serial series, and is directed by William Castle and stars Richard Dix.

If there were ever a serial with a film noir theme or a film noir touch and style, and one of course from the Golden Age of movie serial adventures, it was The Whistler.

The Whistler is great because we never see The Whistler themselves, but we see their shadow, which is a most film noir manner of appearance, and this character, invisible and present, does speak to the noir losers and saps that are the heroes of these films, always and with one exception played by Richard Dix. 

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.

New York Confidential (1955)

New York Confidential (1955) is a Manhattan hitman action and romancing 'Confidential' series New York on-the-ground corporate crime country club hypocrite political scheming, punch-up shoot-out and dragnet multi-male Kefauver-inspired crime syndicate insider circle of self destruction organized crime politically and judicial bribery criminal cartel classic film noir mobster melodrama by Russell Rouse and starring Broderick Crawford, Anne Bancroft, Marilyn Maxwell, Richard Conte, Mike Mazurki,

New York Confidential (1955) has qualities so numerous with fights and shootings an elevator scene a parking garage scene Broderick Crawford with set dressed sky-scarpers in the background scenes which give the film a lot of confidence, pushy lushes, lushes galore with the lushing of Marilyn Maxwell fairly amongst the greats of the noir lady of sadness and sleaze, the gangster's wife, when the gangster is a skyscraper dwelling man of bullets, matched by the young lushing of Ann Banncroft, incredible exactly like a young Ghislaine Maxwell, suicidal and unable to cope with life as her gangster father's daughter.

Destination Murder (1950)

Destination Murder (1950) is a blackmail and murder mystery queer-coded cinema-fantasy delivery boy fantasy psychopathic gang leader fantasy female seeker hero classic Edward L. Cahn film and also a classic film noir, by any sane and sober measure of the style, and doubtless listed as such because as far as Edward L. Cahn film noir output goes and is, this must be his noir masterpiece, the most classical and memorable of his out pout in that style and canon, Cahn's classic expression of the classic film noir style, and perfection ahoy.

In the 1940s and 1950s, the female seeker hero was a new twist in storytelling, and she was unique to film noir. 

Destination Murder (1950) is a good time. It is a film of stupidity greed and fo sho sho fire murder. It is not possible to relate any information regarding this cine-fayre without mention of the player piano which is a large part of its attraction.