For it is a film not necessary of noir, but yet does look to the most over stylised elements of our favourite film language, in fantasy and in shadow.
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.
Portrait of Jennie (1948)
The Turning Point (1952)
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.
The Accused (1949)
The Accused is as essential a film noir one would need as the most extreme example of the othering and socially oppressing of women. It's the ultimate in #metoo noir as well.
The Accused is directed by William Dieterle and adapted to screenplay by Ketti Frings from the novel Be Still, My Love written by June Truesdell. It stars Loretta Young, Robert Cummings, Wendell Corey, Sam Jaffe and Douglas Dick. Music is by Victor Young and cinematography by Milton R. Krasner.