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.
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.
13 West Street (1962)
Cry Terror! (1958)
There is terror to be cried about in the air too, as well as the home, as Cry Terror! is one of the first films to have a good look at airline security. As the American world and all its dreams came together in the 1950s, so the seams of those dreams split, and out oozed film noir.
Everything that remains unspeakable as an aspect of the all-American dream, can be found in film noir.
So as the film noir cycle ends, there are a couple of new appearances on the psychological landscape of the USA. One is the threat of nuclear war, as began its life in the film noir favourites at the end of that decade, for which see Kiss Me Deadly (1955) for more.
Another may be the threat of teenage rebellion, which picked up speed in this decade; as did the threat of terrorism.
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