Suddenly, Last Summer (1959)

Suddenly, Last Summer (1959) is an autobiographical Tennesse Williams psychosurgery paranoid woman benevolent aunt madness or truth thinly veiled story about the unspeakable, homosexuality, Southern aristocracy and madness unsung surreal masterpiece of intriguing and twsited based on a play theatricals around a mad sister and a dead son, and a proposed lobotomy, and a pscyhoanalytico-religio-sacrificial erotomania suppression of women symbolic Joseph L. Mankiewicz directed film noir psycho-melodrama starring Katharine Hepburn, Elizabeth Taylor and Montgomery Clift.

Bringing Up Baby (1938)

Bringing Up Baby (1938) is a screwball thirties film classic classic Howard Hawks zany heiress and hen-pecked fiancée comedy proto femme fatale use of gay reverse stereotypical gender role bumbling sexless workaholic themes of exploitation, and the impact of colonialism and the removing of animals from their natural habitat madcap fast talkin improvised and anarchic universally acclaimed seminal item of Americana as well as a semantic and semiotic artistic act of gender and social denotation starring Katherine Hepburn and Cary Grant and May Robson and Charles Ruggles and Walter Catlett, as well as Barry Fitzgerald as Aloysius Gogarty, Mrs. Random's gardener.

Victim (1961)

Der extreme Höhepunkt des absoluten Kinos in Bezug auf die Basil-Dearden-Filmsaison.

Victim (1961) is a classic British later late period film noir blackmail and homosexuality socio public crime and mystery social issue internalised homophobia Basil Dearden lousy husband thriller noir which as well as being the the first British film to explicitly name homosexuality and deal with it sympathetically, is a sneak look into the male queer London underground as it affected lives high and low, pub going and inner court, bookshop and barber shop, and starring Dirk Bogarde, Sylvia Syms, Dennis Price, Anthony Nicholls, Peter Copley, Norman Bird and Peter McEnery as Jack "Boy" Barrett.

Le rouge et mis (1957)

Le rouge et mis (1957) is a classic jazz riffs all out good time Parisienne one last job-styled heist and gangsters in pyjamas motor car chase and crash French crime film directed by Gilles Grangier and starring Jean Gabin, with the original French title Le rouge est mis, meaning "the red light is on", and with a screenplay based on a novel by Auguste Le Breton, and which not only mentions the 'serie noire' as its own originator, in a metafictional coup, but which stars French legends Jean Gabin, Lino Ventura, with Paul Frankeur, Marcel Bozzuffi, Annie Girardot, Jean-Pierre Mocky and Lucien Raimbourgand it was 100% réalisé par Gilles Grangier, assisté de Jacques Deray, Jacques Rouffio, et sorti en 1957.

The Strange One (1957)

The Strange One (1957) is a homosexuality Southern military bullying barely suppressed gay love film noir rough and ready with handsome recruits and serious acting styles, alongside ubercruel supersoldiers of the military south, at ease in the wilds of the barracks, boy on boy on boy.

An interesting look at gay themes from the 1950s, The Strange One is a film that reflects the era's attitudes towards homosexuality. At the time of its release, homosexuality was still criminalized in most states and considered a mental illness until much later. 

Strangers on a Train (1951)

Strangers on a Train is a masterful 1951 adventure in film noir, with all the morbid fun that Alfred Hitchcock perennially mustered. 

The theme of psychopathy was explored more than once by Alfred Hitchcock, and was one of the more interesting developments in the film noir style.

The idea of the psychopath, who may murder for reasons which are extra-normative to the great American dream, is traced through film noir. Psychological shock explanations are often used, and other psychopaths in noir, who were the first batch of psychopaths in cinema, like Robert Walker's character Bruno in Strangers on a Train, are either aberrations, or the product of environments that are sick.

In this case, Robert Walker's psychopathic Bruno appears to be spoiled by his family's money, and his father's determined disapproval.

The story follows two men who meet on a train, one of whom is a psychopath who suggests that they "exchange" murders so that neither will be caught. The film initially received mixed reviews but has since been regarded much more favourably, especially as it showcased many techniques which Alfred Hitchcock had already perfected and would further perfect, as a master cinematic storyteller.

Rope (1948)

David, Brandon and Philip are meeting for cocktails in a fancy Manhattan apartment. 

But Brandon and Philip strangle David and heave his body into a sturdy wooden chest.

This is the commencement of one of the most unusual of Alfred Hitchcock’s works, Rope (1948). 

It was the first Hitchcock movie to feature James Stewart and is certainly the most underrated of the four movies they made together. 

It might not be classed as film noir by everybody ― Hitchcock’s films are sometimes seen as existing as semi-isolated in their own genre. 

And it’s also in colour ― unusual for a film noir.

But even if you argue that this is not film noir and that it never will be, discussions are never that exclusive, and Rope still shines bright light on many of the interesting movie-based fixations of the late 1940s.