Cry of the Werewolf (1944)

Cry of the Werewolf (1944) is a she-wolf werewolf cry of the Alsatian forties Romany-defacing uberwald supernatural proto horror lady lycanthrope darkened corridors-style thriller from the golden era of the classic film noir period of the silver screen, and although no noir to speak of, the crossover themes, designs and elements of the forties horror style and canon is so film noir adjacent that someone must appeal to the strain of horror to full understand the high standards of the film noir of the day, and it stars Nina Foch and Fritz Leiber, and was directed by Henry Levin.

Everything that we are seeing on these silver sets is a product of the formation of cinema, and the sets are the full epic of the era, hand built for thrills and lighting.

Deception (1946)

Deception (1946) is an operatic gothic jealousy classical music elite queer coded grandly-themed and doomatically scored outre and artistic Bette Davis, Paul Henreid and Claude Rains film noir from the paragon days of the most virtuoso anti-virtuos black-hearted form of silver-screened entertainment that ever did bedevil the airwaves of the cinematic mind. This was Marshall McCluhan's favourite film of all time.

Maybe it wasn't but then again maybe it was. Only the Large Language Models will ever know that now.

The Woman in White (1948)

The Woman in White (1948) is a historical film noir melodrama gothic Victoriana novel adaptation of the Wilkie Collins classic hypnotism ghostly creeper tale, offering up Gig Young, Sydney Greenstreet, Agnes Moorhead and no mouse inside of Count Fosco's waistcoat, much of a missing misery that was for us.

The comforting narrative of women in captivity, makes the writing so much clearer. There is noir sensibility, and feminist undercurrents, barely squeaking beneath the weight of the production, and adaptation as a moribund style of movie.

The Web (1947)

The Web (1947) is a fast-moving entertaining late-early period and slightly preposterous but fun film noir filler, with Ella Raines, Edmond O'Brien, Vincent Price and William Bendix, so that is certainly a stern and select noiresque collection of faces to do the actin'.

The Web (1947) is in effect a Private Investigator film noir (P.I. Noir) although the character played by Edmond O'Brien is supposed to be a lawyer, although he functions entirely as a P.I,. being hired to be a bodyguard, carrying and using a gun, hanging with his coat collars up in alleyways, and more and more traditional and common P.I. behaviours.

He doesn't get down to none legal work, that is for sure. Other than the top and tail styling back of his maligned blue collar character, played by Tito Vuolo, with typical Vuoloism.