When The Stranger was a box office success, Harry Cohn gave Welles a chance to direct his wife, Rita Hayworth, in The Lady from Shanghai, and Welles produced one of the most unique and interesting film noir, albeit one with an incredibly convoluted and complicated plot. See The Woman in the Window and its twin brother Scarlet Street (released a year later, also directed by Lang, starring Robinson, Bennett and Duryea) to find out. This was especially true about the 1940s and 1950s, when World War II plus post-war events (notably during the earlier years of the Cold War) had so profoundly affected the everyday lives of people around the globe. Frank ends up taking out Rocco’s hoods one by one until it is just Rocco and himself, then kills the gangster in a final, climactic shootout, before piloting the boat back to Key Largo and the Temples. This anxiety is expressed in film noir – particularly the early film noir of the 1940’s that this list will focus on – as a sense of disorientation, confusion and distrust, as well as a sense of entrapment in a nightmare world that has gone out of control. Taste of Cinema 2019.

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Reed and Wanley bury the body in the country but leave a number of incriminating clues, some of which come to light when Wanley is called in to consult on the crime by his D.A. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Produced at Twentieth Century Fox and shot in beautiful black and white by Preminger, another German emigre and one of the masters of the genre, Laura was based on a novel by Vera Caspary and was transformed from what might have been a run of the mill detective film into a true classic.Orson Welles was given the chance to direct again after his falling out at RKO and he produced The Stranger (1946), a solid film noir that starred Edward G. Robinson and Loretta Young. White Heat has two memorable scenes, one in the prison dining hall when Cody freaks out after hearing the news that his mother has died and the second the film’s finale, a big shoot out at a chemical plant. Staying at the hotel is Johnny Rocco (Robinson), a gangster exiled to Cuba for the past few years, who is holed up with his gang waiting to make contact with some criminal associates. But when Mundson double crosses some Germans running a secret cartel, he fakes his own death and disappears. Welles is ‘Irish’ Mike O’Hara, a sailor who meets beautiful Elsa Bannister (Rita Hayworth) in New York and, attracted to her, agrees to sign on as a hand on the yacht that she is sailing around the world on with her husband, famed lawyer Arthur Bannister (Everett Sloane).

Because there are very good noir films that come out of the fifties, we’ve included some. Edward G. Robinson plays a criminology professor, Richard Wanley who, after he sends his wife and children away for vacation, meets friends at a club for dinner. It is a term coined in French, meaning literally ‘black film’ that is used to define a genre, or possibly just a subset of the genre of the thriller. With the law closing in, Rocco forces Frank to pilot a boat to take Rocco and his gang back to Cuba. Bogart is Frank McLoud, recent combat veteran who stops in at the Key Largo hotel of James Temple (Lionel Barrymore) and his daughter-in-law Nora (Bacall), widow of an army friend of Frank’s.

We won’t give up more of the plot, but suffice it to say that Gilda, with its sense of brooding hatred, distrust of beautiful woman and double crossing of friends and associates, has all of the elements of a classic film noir. The film seems to function in two worlds, the melodramatic daytime world of Mildred’s successful restaurant chain that is filmed in low contrast ‘high-key’ lighting, and the noir nighttime world of Mildred’s outside life with daughter Veda (Ann Blyth) and her chiseling second husband, Monte Beragon (Zachary Scott) that is filmed in the shadowy, high contrast, chiaroscuro lighting style typical of film noir. Michael escapes from the courthouse and into San Francisco’s Chinatown where Elsa appears, ostensibly to help him in his escape. Like The Woman in the Window, Laura features a protagonist under the spell of a beautiful women in a portrait; in this case it is Police Detective Mark McPherson (Dana Andrews). The portrait is of Laura (Tierney), a beautiful advertising executive. The first of the films made available here are of the “film noir” genre (or style, if you prefer). Surrounded by police atop one of the chemical tankers, Cody goes insane screaming “Top of the world, Ma!” as he blows himself up.

Still, The Lady from Shanghai has survived as a triumph of Welles rare vision, and is one of the most stylistic and unique film noir of all time. A tour de force performance by Crawford brought her a well deserved Academy Award (while Bette fumed) for best actress, and her career was resurrected for over a decade at Warner’s, where she made such later films such as Humoresque, and in 1954 she made the camp western Johnny Guitar that some view as the only western film noir.Of all the women of film noir, Gene Tierney was perhaps the most alluring, and the 1944 film Laura, directed by Otto Preminger, is a great vehicle for her talents.

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