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For example, Native Americans have never and would never refer to themselves as 'Indians', as they do here, even a patent absurdity in 1950.
Anthony Mann’s Devil’s Doorway (1950) is a significant yet underappreciated western film that offers a haunting portrayal of racial discrimination in the American West.
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Mike Hammer is explosively portrayed by newcomer Biff Elliot who walks into shot and examines the dead body of his one-armed pal, some crude jokes are made and then Hammer brutally attacks a journalist, smashing him into a rack of plates. This is as solid a character introduction as was ever made.
While not a great film nor a great effort at a film, I, The Jury (1953) is one of these movies that seems responsible for some of the truer of film noir's tropes and visions.
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Drain dwelling hi-technology oscillograph and television projector building full fat classic film noir, He Walked By Night may also be appreciated for the stunning array of tech gadgets and insight into the technical electronic industry as it might have stood in 1948, as well as its stunning lack of female actors and characters and for what it says about the battles for social control that went on as fascism was unspooled across social institutions after World War II
Gun totin and fast moving, He Walked By Night rides through the night of course, that being its charm, and of course it's night in the storm drains too, where master lone wolf Richard Basehart - the character's name is Roy Martin or Roy Morgan - has a stash of guns too.
When it comes to doggy nemesis none are harder and cleverer and more determined and sharp as Scott Brady, who also plays a mean police milkman when need be.
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It was released by Eagle-Lion Films, based on the 1946 novel of the same title written by Murray Forbes.
It's everything high noir should be — a story of hardened criminality, deceit, weird and fantastical problems and situations, ambiguity, pursuit, fate, twists and doomed and destructive love affairs — it's incredible what can be packed into this 83 minute ride.
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Made by Eagle-Lion films, this entertaining if slight and lightweight film noir is a straightforward whodunnit, with more of a who-tried-to-do-it feel, as the murder victim survives the attempt on her life, and must then sleuth out the would-be killer from the cast of friends and family.
When the remains of a woman's body are found after a fire consumes the stables on the estate of wealthy Barbara Carlin, it is assumed that the body is hers, especially since the body is found Barbara's diamond necklace.
Classic noir mystery weirdness kicks off the action however, with the mourning victim on the way to her own funeral in a taxi — an event rich in an almost goofball flavour of black comedy.
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The film tells the story of a phony spiritualist racket, which is rather excellently described with the various tricks of the trade merrily on display, much as they are in fairground noir Nightmare Alley (1947), which also reveals some of the tricks of the trickster's trade in all their shabby glory.
The film is prominently featured in Alton's book on cinematography Painting with Light (1949) and , the photography does certainly have a full-on film noir feel, with its massive plays of dark and light around doorways and stairways and other architectural corners — including an interesting and repeated shot of the spiritualists at work via the crystal ball — shot from below. Some of the most memorably and recognisable film noir photography on the block.
Another of the stranger angles places the viewer inside a sink.
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It's known as one of the first films to be shot on and around location in the Boston and Cape Code area.
In the story by Leonard Spigelgass, a married, upper-class super-bounder James Joshua Harkley, played by Edmon Ryan, shoots dead his pregnant girlfriend Vivian Heldon (Jan Sterling), discards the naked body in the sea and sinks her stolen car in a muddy pond.
When the car owner Henry Shanway (Marshall Thompson) is arrested, super-smiley police lieutenant Peter Moralas (Ricardo Montalban) and never-smiling Harvard doctor Dr McAdoo (Bruce Bennett) set out to investigate.
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This classic film noir from 1947 follows two Treasury Department agents, Dennis O'Brien and Tony Genaro, as they go undercover to break up a counterfeiting ring. The film provides a glimpse into the post-World War II era of the United States and speaks to several aspects of 1940s American society.
One of the main themes of the film is the idea that the American dream is attainable through hard work and honesty. This idea is represented in the characters of O'Brien and Genaro, who are portrayed as hard-working and dedicated agents who are willing to risk their lives to protect their country. The film also portrays a strong sense of patriotism, which was common in the post-World War II era.
Another theme of the film is the idea that crime does not pay, which is a common message in many film noir movies. The counterfeiting ring that O'Brien and Genaro are trying to bust is shown to be ruthless and violent, and the film suggests that their criminal enterprise is ultimately doomed to fail.
The walls and floors are streaked in shadows and there's a noisy boxing match roaring in the city.Joe McClure: I guess I'm getting too old to handle a gun.
Mr. Brown: Yeah, maybe you're just getting too old, Joe.