.png)
.png)
From the Earth to the Moon (1958) is a Byron Haskin Jules Verne Civil War space rocket science fiction revenge and rivalry sane scientist drama featuring a cold war mutually assured destruction power that can destroy the earth action special effects adventure movie with Joseph Cotten, Debra Paget, George Sanders, Byron Haskin, Henry Daniell, Carl Esmond and Morris Ankrum. Oh cielo, questo non è un film noir!
.png)
The detonation of horror and conscience finds a singular locus in SEVEN DAYS TO NOON (1950), a work of distinct cinematic and political resonance. Released in the cautious and threadbare atmosphere of post-war Britain, the film disrupts the boundaries of genre, tonally ambiguous and ideologically riven.
.png)
The Thief (1952) is a non-verbal one of a kind atomic age location-shot nuclear secrets classic Ray Milland and Russell Rouse film noir, both innovative and inventive, curious and classic, telling the engrossingly spun paranoid tale of one man's turning Communist spy and his discovery and having to go on the run, with escape and capture fantasy played out across New York, in some most famously shot locals and corners.
.png)
The Werewolf (1956) yes, this is one of the odd mid noir early non horror kind of tragic costume wilderness wandering gunshot redneck get the mob with a raving wildfire of burning torches.
.png)
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.
.png)
is the film that marked Alan Ladd's swan song as a leading man. And honey, let me tell you, this was not the grand finale one might have hoped for. Sure, it’s a decent movie—for its time—but the truth is, it’s hard not to see the wear and tear of Ladd’s years of excessive drinking and hard living, splashed across his face like a tired canvas.
.png)
On the Beach, written by Nevil Shute and adapted into a film by Stanley Kramer, stands as one of the most controversial and widely read books of its time. Both the book and the film are credited with significantly influencing the anti-nuclear weapons movement of the 1960s and contributing to the end of the nuclear arms race.
.png)
In September 1952, Monogram announced that henceforth it would only produce films bearing the Allied Artists name. The studio ceased making movies under the Monogram brand name in 1953, although it was reactivated by AAI by the millennium. The parent company became Allied Artists, with Monogram Pictures becoming an operating division.
In fact French New Wave pioneer Jean-Luc Godard dedicated his 1960 film Breathless to Monogram, citing the studio's films as a major influence.
.png)
The story follows two convicts, Sam Hurley (Stephen McNally) and Bart (Paul Kelly), who escape from prison with Bart having been shot. They're picked up by their getaway driver Dummy (Frank De Kova) and then hit a gas station, where the foul-tempered Sam kills the attendant (John Cliff).
The men then hijack a car driven by Kay (Alexis Smith) and her boyfriend (Robert Paige) and set off into a nuclear testing ground where they pick up another two cast members, an attractive drifter called Dottie (Jan Sterling), who is travelling with a journalist called Larry (Keith Andes).
.png)
The film was made with the blessing and backing of the FBI — so much blessing in fact that Bureau director, J. Edgar Hoover, appears during the introductory montage.
The FBI agents shown in Washington, D.C. were played by actual agents and the film's semi-documentary style inspired other films, including The Naked City and Boomerang.
Producer Louis de Rochemont was known for creating some pre-War anti-Nazi material for the March of Time newsreel series in which he mixed documentary footage with staged re-enactments.
.png)
The film is based on an original story treatment by George Worthing Yates, which was then developed into a screenplay by Ted Sherdeman and adaptation by Russell Hughes.
Directed by Gordon Douglas, and starring James Whitmore, Edmund Gwenn, Joan Weldon, and James Arness, Them! (1954) was one of the first of the 1950s nuclear monster films, and the first big bug feature film to use insects as the monster.
A small girl is found wandering alone in the New Mexican desert, the only survivor of an unknown calamity that befell her family. When roused from her catatonia, she can only scream: "Theeeem!"
.png)
One of a handful of major Hollywood stars of the Golden Age who remained a virtual stranger to film noir, Gary Cooper plays a bachelor nuclear physicist named Alvah Jesper who is working in the United States on the Manhattan Project to build a nuclear bomb.
Recruited into the Office of Strategic Services (OSS) his mission is to make contact with a Hungarian nuclear physicist, Katerin Lodor, who has been working on the German project to make a nuclear bomb and has escaped into neutral Switzerland.
.png)
Not a film noir, The Incredible Shrinking Man (1957) is a noir era view of paranoia, and while classic era noir offers style, theme and technique to both horror and science fiction, The Incredible Shrinking Man (1957) is also a great period exploration of masculinity — or in fact it's an exploration of masculinity for all time.
Best appreciated for the complex and brilliant effects, The Incredible Shrinking Man (1957) is one of the decade's major artworks.
.png)
 |
| Kiss Me Deadly is also known for its weird credits which back up the screen instead of descend |