Jigsaw (1949)

Jigsaw (1949) is an unusual and at times outré mystery chase hate-group propaganda versus journalism, journalism and media film noir, starring Franchot Tone as a detecting assistant district attorney, on the scene and hunting for what might be called neo-fascists, or perhaps simply more likely, just fascists.

None of that was really truly departed for the future, after all, not even by 1949. And what is and was and what became and what now is fascism, and what the definitions of fascism are and might be, are all questions much relevant to film noir.

Jigsaw (1949) is an entertaining thriller that’s so over-the-top, you can’t help but overlook its far-fetched plot and be grateful for the fun it brings. It’s a film that’s as strange as they come.

Take One False Step (1949)

Take One False Step (1949) is an innocent-man-accused murder mystery comedy-toned film noir by Chester Erskine, which follows decent upstanding citizen Andrew Gentling (played by William Powell) as he negotiates the criminal backdrops of San Francisco, trying to clear his name from the frame, and deal with a rabid dog bite in the process.

In town for a conference, Powell's character bumps into an old flame in the form of Shelley Winters, and she relentlessly hits on him until he drives her home, and she disappears, leaving him suspected of murder.

It's a murder without a body however, and an ordinarily tense noir setup falls into place and the hacks of film noir will argue that it winds up lacking in the tension that is traded for comedy.

Raw Deal (1948)

Raw Deal (1948) is a classic of on the lam noir film-making starring Dennis O'Keefe, Claire Trevor and Marsha Hunt.

Prison convict Joe Sullivan has not only taken the fall for an unspecified crime, but he sports the classic film noir overcoat in this film, and runs desperately from hideout to hideout, trekking down the West Coast of the USA on a collision course with revenge.

Best of all, his run is made with two women at his side, Pat and Ann, dames established from the off as the good and bad side of femininity, both of whom are of course sweet on him, in their separate ways.

Pat is the more traditional gangster's moll, who helps Joe with the breakout, and is as tough as the leather which this film noir is made from; contrasted with Ann, the good gal who is her foil and love rival, and is actually Joe's case-worker, who has against her own will fallen for the convict.