The Servant (1963)

The Servant (1963) is a Joseph Losey classic British film noir and classic film noir powerplay domestic psychological class structure descent into anarchy and manipulative homme fatale style upper class versus lower class classy Limey nervy upstairs downstairs thriller of deceit and overt and latent sexual frustration and erotic guilt and loss of control and bisexual class hatred and manifestation of male self hatred starring James Fox, Dirk Bogarde (as Hugo Barrett), Sarah Miles, Wendy Craig, Catherine Lacey, Richard Vernon, Patrick Magee, Harold Pinter LOL, Dorothy Bromiley as girl outside Phone Box — great scene that — Johnny Dankworth — and as another fine musical treat — Davy Graham as himself. Happen to be a fan.

The Sleeping Tiger (1954)

The Sleeping Tiger (1954) is a Brit-teen jazz-crime tearaway movie, with stiff upper lip, hot and sexy jazz in Soho, and failed psychanalysis taking place in the midst of an even harder failing marriage. 

The subject matter is the mood music of the British time; teenage criminality, the hopeless British stabbing at psychoanalysis; the tragedy of marriage and the family, and the failure of men to control the disastrous environments their misogyny created to begin with.

While Dirk Bogarde's character suffers from an inability to control his criminal teenage urges, his psychiatrist can't control his profession, and is a failure as a husband while obviously believing he is doing the right thing. When he is mansplaingly doing the wrong thing, again and again, while being the lamest husband ever.

And the teenage tearaway Dirk Bogarde is marvellous; his character longs to have actual issues but he is in fact a middle class boy, which makes his random bullying and cigarette puffing anger all the more wild; and how he has the hot-hots for his psychiatrist's moody wife!

The Big Night (1951)

Film Noir is full of oddities, largely because everything was coming of age at the same time.

Cinema, culture, youth culture, psychology, post-war capitalism, men, women and children, were all breaking forth from scores of different chrysalises and all at the same time, in film noir.

In The Big Night, we watch the kid George become the man George in the most 1940s noir way imaginable ― he puts on a jacket tie, and finally ― a hat. 

Hey presto ― grown up.

It’s just society’s bad luck that this young man finds a gun shortly after that. Only joking George. George immediately enters the noir city of the 1940s, complete with boppin jazz all night, drunks and of course, the character who leads who leads him astray.

It isn’t long before George is experiencing heavy confrontational scenes in toilets, bumps and bashses, and George continues on his search, never looking quite at all the man.

He's like ‘Kid Noir’ in fact.