Ruby Gentry (1952)

Ruby Gentry (1952) is a King Vidor southern gothic jealousy and revenge social climbing voiceover and flashback and religious damnation triple lousy husband and abuse of women despite rags to riches story melodramatic unfortunate accident focusing sex, lust and love with a side story of American entrepreneurship scathing and furious trashy Duel In The Swamp style melodrama film noir with a famous harmonica theme tune and starring Jennifer Jones, Charlton Heston, Karl Malden and Barney Philips, with Tom Tully, Phyliss Avery, Frank Wilcox and Bill Walker. All true so far.

I'll Be Seeing You (1944)

The Joseph Cotten season drifts on like a welcome breeze, bringing pleasure to all who linger in its shade and now it carries us to yet another film illuminated by his steady, elegant presence, oh his oeuvre, it containeth gems.

I'll Be Seeing You (1944) is a returning veteran PTSD Christmas romance and recovery lost souls and trauma themed prisoner of love during wartime date rape drama of past secrets and emotional struggle, voiceover, and prison movie of a kind, starring Ginger Rogers and Joseph Cotten, as well as Shirlet Temple, directed it is said by both William Dieterle and George Cukor, and produced to the high emotional standards of David O. Selznick, and while not in sense nor measure nor capacity nor style at all a film noir, is a film which does feature a manslaughter or murder and clings close to themes of PTSD and past secrets, most darkly and commonly explored by film noir at this moment, and so with Joseph Cotten commanding an excellent performance, and Ginger Rogers excellently exploring violence against women and rape culture, is clearly an honorary film noir.

Illegal Entry (1949)

Illegal Entry (1949) is an unlawful residence Truman-era illicit Mexican border immigrant smuggling operation film noir directed by Frederick De Cordova and starring Howard Duff, Märta Torén and George Brent.

The later 1940s and early 1950s were a unique era in American cinema, where the intersection of real-world fears and Hollywood's hunger for drama gave birth to a distinct genre: the semi-documentary. 

These films, often based on espionage and FBI cases, served not only as entertainment but also as propaganda, reinforcing the public's trust in federal agencies at the dawn of the Cold War. 

The Unseen (1945)

The Unseen (1945) is an old dark house children and governess paranoid woman lousy husband old homeless woman murder mystery mansion house genuine thrillodrama film noir, from mid the paranoia period of women in crazy marriages era of the Golden Age of the Silver Screen

Watching The Unseen (1945) you will be upset into a derisory frame of mind when you hear how often the prettiness of Gail Russell's character is referred to. 

I am sure this might have contributed to her drinking herself to death, being called pretty in so many scenes.

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.