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.
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.
Invaders From Mars (1953)
Murder Is My Beat (1955)
Even as it checked out and evolved into the new riffs of the 1960s and the miracle cop movies of the seventies did elect to emulate its own hey day with pictures like Murder Is My Beat (1955) which seems stuck to 1940s noir tropes in an almost nostalgic manner, as if the picture craved to be made in 1945 and not in 1955.
Patsy Flint as the voiceover tells us, has a hard little package with a cunning brain sharpened by constant grinding against the world. And is that kind of snapping theatrical flat wobbling noir, with its amazing snow-scene surprise, one of the best snow noirs on the block.
It's a frankly exciting story right on the ridge of peril, and with noir merit to spare. It slips in all types and travails, including "I'd seen enough killing in the Pacific," as the noir hero makes weary work in his suit and coat through the worst snow drift in film noir.
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