This is not a film noir, and yet within it lurks the genes of the style not quite activated, but present as the underscored factual spiritual well from which draws a grabbing interest, between the snogs and high-class encounters. In the 1940s they did not have slacker movies, but they did have loafer movies, and this is one.
Classic Film Noir exposes the myths by which we fulfil our desires — sex — murder — and the suburban dream — 1940 to 1960 — FEATURING: amnesia, lousy husbands, paranoia, red scare and HUAC, boxing, drifter narratives, crooked cops, docu-style noir, returning veterans, cowboy noir, outré noir — and more.
The Razor's Edge (1946)
Rawhide (1951)
It's a western but in any other form Rawhide (1951) would be a film noir. Deceit, revenge, a heist and a home invasion, with robbery, exploitation and a vulnerable hold up.
The western did not seem to update as quickly as did the classic film noir.
Johnny Apollo (1940)
Directed by Henry Hathaway and starring Tyrone Power and Dorothy Lamour, Johnny Apollo tells the story of the son of a jailed financial and corporate embezzling broker who turns to crime to pay for his father's release.
Tyrone Power fits the title role of Johnny Apollo well.
The name Johnny Apollo is a crazy, spontaneous, to-heck-with-it whassin-a-name spur of the moment decision for his character Robert Cain, Jr. whose father (played by Edward Arnold) has been jailed for some white collar securities violations, an event which brings his son's soft and privileged life to an end.