Yes, even though Mirage (1965) was made by Edward Dmytryk in the 1960s it rolls with the full flavour of all iconic and classic film noir, from the paranoiac lost in the city, to the hats and hoods of a mysterious underworld. Great motor cars and docu-noir style street action, a dream-like quality, and mystery intimate quick flashback visions as Gregory Peck pieces the cliches together, with the unique addition of Walther Matthau.
Classic Film Noir exposes the myths by which we fulfil our desires and lays flat the means by which we created the audiovisual dispositif — sex — murder — and the suburban dream — 1940 to 1960 — FEATURING: amnesia, paranoid women, lousy husbands, red scare and HUAC, boxing, drifter narratives, crooked cops, home invasion noir, docu-style noir, returning veterans, #KEFAUVER! cowboy noir, vacuum cleaners in film noir, outré noir, espionage noir — and more.
Mirage (1965)
The Lady Gambles (1949)
As the film opens prepare to see Barbara Stanwyck punched 11 or 12 times in the face by three mooks in an alley, each bruising face-breaking blow leaving a great ouch across the style. It has to be one of the more terrifying noir beatings.
This leads to a hospital managed by a cynical hard smoking medical stoic played by John Hoyt, and the whole flashback, fading screen, voiceover here-is-how-it happened commences, and Double Indemnity style, the story unravels, although it ain't such a hot story.
Invaders From Mars (1953)
Directed by super-Scot, or at leaset second generation American Scot William Cameron Menzies and starring Jimmy Hunt, Helena Carter, Arthur Franz, Morris Ankrum, Leif Erickson, and Hillary Brooke, it was produced by Edward L. Alperson Jr. and released by 20th Century-Fox in terrifying color, not just SuperCinecolor. For more on that Cinecolor effect, go here to Wikipedia.
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