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In the noirlands of the wild west and in the imaginations of the film makers and narrative makers of the high era of American creativity, a film such as The Gunfighter (1950) carries many a surprise.
Edgar G. Ulmer's Bluebeard (1944) exists as an eerie artefact of Poverty Row filmmaking, elevated by its German Expressionist cinematography and the morbid charisma of John Carradine. The film, produced by the minuscule PRC (Producers Releasing Corporation), manages to overcome the material limitations of its budget through a meticulously cultivated atmosphere of gloom and psychological torment.
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Fairly silly and not universally enjoyed, Dead Man's Eyes (1944) is a basic production to say the least, and is fairly static in terms of its acting and direction, and so quite easy to see why it is not so widely enjoyed as other films noir might still be.
Indeed, for a love triangle picture it is even hard to imagine any of the characters having any true feeling for each other, but then in a cinematic landscape where nothing makes total sense, then nothing particularly matters either.
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Shot on sparing sets and more intense and violent than your average 1954 thriller, Black Tuesday with Edward G. Robinson is one of those noir gems that you hear about.
More than the sum of its parts, Black Tuesday (1954) pulls an epic violent bad guy sociopath role from G. Robinson and does so across some of the most unique set scenery of the day.
The two sets largely used are a set of prison sets, including a shoot out exterior, and plenty high angles looking down staircases and across yards. The electric chair scenes are probably the best across the whole style.