The Glass Wall (1953)

The Glass Wall (1953) is a returning veteran post-Holocaust musical Manhattan based chase and race against time innocent man abroad man hunt cheap-boarding room bound ship and pavement immigrant stowaway thriller with Vittorio Gassmann and Gloria Grahame, and in the meantime, I would so assert bub, that this is a little known but effective film noir, notable for terrific street photography, as wella s starring Joe Turkel in an uncredited young punk son role, and being directed by Maxwell Shane, who became a screenwriter before becoming a director in 1947, after which he worked on noirish films, as a writer or director, like Hell's Island, Fear in the Night and the remake Nightmare, while also scripting City Across the River (1949) and directing1955's The Naked Street, generally some decent noirs, some decent noirs.

The Case Against Brooklyn (1958)

The Case Against Brooklyn (1958) is a crooked cop police procedural crime-syndicate corrupting city officials style of late film noir cycle rookie-cop-taking-on-the-system style of bribery thriller drama from Paul Wendkos, who went on to direct many a cop and comedy TV and movie thriller up until the 1990s, and indeed many other kind of 80s and 90s era TV movie fare.

The 1958 noir film The Case Against Brooklyn offers a semi-gripping portrayal of systemic corruption within the police force and the criminal underworld. Directed by Paul Wendkos and based on a real-life article by investigative journalist Ed Reid, the film is a film noir sensational guarantee that Hollywood will pretend to offer a reminder of the ethical dilemmas and personal sacrifices involved in exposing organized crime.

The Naked Street (1955)

The Naked Street (1955) is a death penalty pregnancy and child loss crime corruption and extortion frame up film noir by Maxwell Shane starring Anne Bancroft, Anthony Quinn and Farley Granger.

If film noir naming conventions are to be adhered to, then The Naked Street (1955) trumps top in many delightful ways, composed as it is of that favourite noir naming trope — the street.

Lassie slapping noir is a stryle of street noir dirty with villainy and snarls, here delivered by back-handin' Anthony Quinn, some super indented toothy noir by numbers, a film of straight lines.

Studio noir with cool and low down fast action location shooting blended everyday realism with a sense of poetic melancholy. Films of noir often depicted characters living on the margins of society, facing disappointment, disillusionment, and fatalistic views of life.