Scandal Sheet (1952)

Scandal Sheet (1952) is a Phil Karlson journalism and media noir secret past murder drama categorising a cheap, cruel and disgusting press as noir as the swindling murderers who run it, based on a novel by Samuel Fuller, the film director, screenwriter, novelist, journalist, actor, and World War II veteran known for directing low-budget genre movies with controversial themes, often made outside the conventional studio system. 

Scandal Sheet (1952) does remain an engaging noir film directed by Phil Karlson, featuring Broderick Crawford as managing editor of a sensationalist newspaper, John Derek as an ambitious reporter, and Donna Reed as a principled journalist. Based on Samuel Fuller's novel The Dark Page, the film opens with the murderer's identity revealed—editor Mark Chapman (Crawford) kills his ex-wife, setting off a tense storyline as he encourages his staff to solve the very crime he committed.

Johnny Dark (1954)

Johnny Dark (1954) is not a film noir title, despite Johnny Dark being a provocatively film noir style title.

Instead Johnny Dark is a rather pleasant and fairly swift drama film about a motor car engineer who builds a super-efficient sports car, but finds himself sanctioned by the owner of the firm he works for, who is so stuck in his ways that he only wants to make super chunky American family cars that take six people —  a man who sees the sports car as a sign of corruption and decline in civic standards.

There is surprisingly little else to the story of Johnny Dark. The men are test racers and engineers and they used to be USAF pilots.

The owner of the company is fighting with a group of investors, each trying to gain control and this causes him to back the project, and kill it once the proxy vote is over.

The Turning Point (1952)

The Turning Point (1952) is a corporate crime prosecution crooked cop journalism and media managerial film noir starring Edmond O'Brien and Joseph Cotten, as a special prosecutor and a journalist — respectively — breaking a crime syndicate in downtown Los Angeles. 

It was inspired by the Kefauver Committee's hearings dealing with organised crime which were of enormous public interest in 1950 and 1951, and which inspired quite a few film noir moments, as it happened. 

The idea of these hearings as a locus for the challenging of crime by means of public morals, created a unique set of cultural points for the 1950s. Since prohibition times, crime had grown into a major enterprise, and this its mangerial Kefauver-style film noir re-telling with sensation, morality, family, frienship, thuggery and downtown Los Angeles location shooting.