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LIST BY
bbbgtoby
Updated 22 days ago
Every film listed in the Film Noir Encyclopedia 4th Edition: Classic Period by Alain Silver,
Elizabeth Ward, James Ursini and RobertPorfirio
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Abandoned 1949
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Blackmail 1947
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Bluebeard 1944
Bodyguard 1948
Boomerang! 1947
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Caged 1950
Calcutta 1947
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Caught 1949
Champion 1949
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Conflict 1945
Convicted 1950
Film Noir The Encyclopedia: The Classic Period, a list of films by bbbgtoby Letterboxd
Cornered 1945
Crack-Up 1946
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Film Noir The Encyclopedia: The Classic Period, a list of films by bbbgtoby Letterboxd
D.O.A. 1950
Film Noir The Encyclopedia: The Classic Period, a list of films by bbbgtoby Letterboxd
Decoy 1946
Desperate 1947
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bbbgtoby
BilltheThrill
bbbgtoby
I thought i'd have seen more, 60+ is a lot of film noir to have seen though.
BilltheThrill
I concur. I've been spam watching them lately doe. No doubt I'll be over 100
bbbgtoby
I imagine I will too. Just found a great online resource for them today so I
a month ago
a month ago
a month ago
a month ago
a month ago
shall be breaking my own movie watching rules for the sake of classic cinema.
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Much like Preminger's other "society" noir films Whirlpool has a much lighter
visual style than what has traditionally come to be known as film noir. You may
even be forgiven in thinking that it is simply another Hollywood "women's
picture" with the tedious melodramatic scene setting that fills the first half of
the movie. It is when this is done and dusted that things start to get darker,
Gene Tierney is hypnotised and sleep walks through some petty crimes before
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1999: Top15
15films
It's a very highly thought of movie and I can see why but for me it was quite
ordinary. It feels almost like a Georges Simenon novel with a "surprise" ending.
The literary novel of obsession, the psychological thriller, they merge and
become Tim Krabbe's The Vanishing. It's pretty unique in cinema I guess but
for me it was either way too subtle or just ignored the intricacies of the minds
of the two protagonists therefore making the entire thing a setup for the final
punchline. Meh.
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ACTIVITY
I like Clooney, I have liked Payne in the past. It had a lot of buzz. And still it
took me two years to watch this film. It looked and sounded dull. It was
actually worse than I imagined.
Clooney is great in it but that aside this really had nothing going for it. Very
little happens, there's two opposing forces pulling on the script and neither
section really seems to have any impact on the other despite them both more
5likes
This wasn't the first time I've seen this movie, it might not even be the
hundredth time I've seen it but it is the first time I've seen it at the cinema and
also the first time it has been paused for a firework display. I think it might
have been the way the Coen Brothers wanted it.
Every time I see this movie it gets better, funnier sure but smarter too. I often
think that maybe Serious Man or more
6likes
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Before I start this review, Id like to say the following: If you liked or even loved
the film, that is fine. I frankly envy you. This is a film I wanted to love. But I
didnt, for reasons I will go into during this review.
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Previous to this rewatch, I had last seen The Dark Knight Rises at the midnight
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Before I start this review, Id like to say the following: If you liked or even loved
the film, that is fine. I frankly envy you. This is a film I wanted to love. But I
didnt, for reasons I will go into during this review.
AHAB ALIENATES
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Previous to this rewatch, I had last seen The Dark Knight Rises at the midnight
premiere. The idea of a filmmaker finishing off a comic book trilogy and
summing up their run of a more
124likes
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Wow.
It doesn't happen often that all elements of what comprises film reach such a
high level as with The Master. It brushes with perfection on so many an
occasion which left me in complete awe for everyone involved in making this,
but mainly because of the three main offenders; Phoenix, Hoffman and
Anderson.
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Before I start this review, Id like to say the following: If you liked or even loved
the film, that is fine. I frankly envy you. This is a film I wanted to love. But I
didnt, for reasons I will go into during this review.
Previous to this rewatch, I had last seen The Dark Knight Rises at the midnight
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Yeah...so, this is the film that had me all the way. It's sublime. It's one of the
most intelligent films I've ever seen. It's got my mind working in over-drive. I'm
over-heating. I can't say anything at all about this to people who haven't seen it,
so I'll just babble on critically...
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Has a film ever been so unique, different, and flat out incredible that it leaves
you speechless begin to end and even after the credits roll?
If not, The Master will be that film.
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Even on a rewatch, I don't even know where to begin. I've seen this film twice
now and I am still too awe-struck to muster a proper review. Every angle, every
element, every single frame, everything about The Master is too breathtaking to
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Thought I'd fine tune this list before I actually see any of
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bbbgtoby
Updated 22 days ago
Every film listed in the Film Noir Encyclopedia 4th Edition: Classic Period by Alain Silver,
Elizabeth Ward, James Ursini and RobertPorfirio
3likes
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bbbgtoby
BilltheThrill
bbbgtoby
I thought i'd have seen more, 60+ is a lot of film noir to have seen though.
BilltheThrill
I concur. I've been spam watching them lately doe. No doubt I'll be over 100
by the end of the year.
bbbgtoby
I imagine I will too. Just found a great online resource for them today so I
shall be breaking my own movie watching rules for the sake of classic cinema.
a month ago
a month ago
a month ago
a month ago
a month ago
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Published
Every film listed in the Film Noir Encyclopedia 4th Edition: Neo-Noir by Alain Silver,
Elizabeth Ward, James Ursini and Robert Porfirio
3likes
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A companion to the Film Noir Encyclopedia 4th Edition: Classic Period list
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Abandoned
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Dennis O'Keefe
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Will Kuluva
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Gale Storm
Marjorie Rambeau
Jeff Chandler
Mike Mazurki
William Frambes
Meg Randall
Sid Tomack
Perc Launders
Clifton Young
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Review by BrianLinn
What happens when you are a single, desperate, and pregnant woman in the late 1940s?
Well obviously, you get duped into living with a kind little old lady who promises to take
care of you and assist you during the birthing process, only to do a complete heel turn
after you have your baby, in which she murders you in cold blood and steals your child to
sell. That is the story of Abandoned, a 1949 Universal Pictures cheapie released as a
quick second feature to supplement theaters needing that extra film to pull in the crowds.
Starring Gale Storm as a woman trying to solve the suicide of her sister in Los Angeles,
she soon crosses paths with a more
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TheAccused
FILMS
STUDIO
Loretta Young
Sam Jaffe
Douglas Dick
Mickey Knox
Ann Doran
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Robert Cummings
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Wendell Corey
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Sara Allgood
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Ace in theHole
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Review by Walter Andrade
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Every time I sit down to watch a film categorized as noir, I'm hoping for a movie just like
Ice in the Hole.
A dirty and cynical journalist capable of anything to make his big shot is the protagonist,
he's living in the country and working for a local newspaper for far too long and now he's
bored with it. A man trapped in a "cursed" mountain is his ace in the hole. The man can
be saved in 16 hours, but this ain't enough to make this story big, the press needs 7 days
and for that they'll do anything.
Ace in the Hole is mainly about egoism and it spreads the guilt everywhere, from Mr. and
Mrs. American more
4likes
An angry, powerful gut-punch of a film. Should be mandatory viewing for any journalist.
5likes
Billy Wilder pushed the limits and put it all on the line with this cynical conviction of
post-World War II American culture. The story focuses on Chuck Tatum, a disgraced
journalist willing to do anything necessary to reach greatness and regain a job on a major
newspaper. Played by Kirk Douglas with an arrogant nastiness that is mesmerizing, a
performance that is timeless in its morbid relevancy. Chuck finds his chance to reach the
top again in Albuquerque where a local man has been trapped in a cave once used as an
Indianian burial ground after the inside collapses. He plays of the weakness and greed of
the surrounding locals to prolong the rescue and uses his skill at twisting more
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Review by shookone
which is definately to consider the best noir i've seen in my 5 films back to back session
really surprised me. while all the other films consisted just of a drifter stepping in, this
"drifter" here is a surprisingly multi-layered character. the whole scenario is highly
minimalistic, which can always be of a true advantage if the story is realized in the right
hands. obviously wilder is the man for that. the point which makes this experimental set
up so good though: every single character - except the victim of course - is rotten, filthy
and miserable. what is basically a grotesquely exaggerated media satire is also a portrait of
a narcissisistic society, perfectly expressed in the main character of more
I can't say I liked this movie but I didn't dislike it. We watched it because Tom's been
intensely curious about it ever since reading a bio of Billy Wilder and learning that he
thought this one of his best films ... and we'd never heard of it. It is completely effective as
a scathing indictment of the American media circus that arises under the guise of "caring,"
whenever disaster strikes somewhere. As we all know, this is a trend that has not changed
in the slightest today, so the story is very modern. Kirk Douglas does a fantastic job as the
sleazy, self-serving media hound who corrupts almost everyone near him in order to be
the sole mouthpiece for the story of a man caught in a cave. I imagine this probably also
hasn't changed much these days, if only we knew the entire story.
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Act ofViolence
FILMS
GENRE
Van Heflin
Robert Ryan
Phyllis Thaxter
Harry Antrim
Janet Leigh
Berry Kroeger
Connie Gilchrist
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RATINGS 34
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Mary Astor
Taylor Holmes
Will Wright
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Review by Chris
Janet Leigh married to Van Heflin? Really? Other than that, it's a fantastic movie and
Robert Ryan is so goddamn good in it.
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Affair inHavana
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John Cassavetes
Sergio Pena
Raymond Burr
Celia Cruz
Sara Shane
Lilia Lazo
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Affair inTrinidad
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Rita Hayworth
Valerie Bettis
Karel Stepanek
Walter Kohler
Glenn Ford
Torin Thatcher
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Alexander Scourby
Howard Wendell
George Voskovec
Juanita Moore
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Review by lemonski
I don't get Gilda, and I don't get this. A poorly-timed dance sequence from Rita Hayworth
in the opening minutes almost makes this a dead duck from the beginning. Paint-bynumbers stuff in the middle, and some good suspense towards the end.
Review by J Hobbs
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Review by FernandoFCroce
America, not quite out of the Depression and not yet at war, as a couple of siblings split
along gothic shivers and noir shadows. The southern community is "a beehive without
bees," the mill is dormant but the local juke joint is jumpin. Gated within the woods is
the decaying family mansion, the camera tracks deeper and deeper into its bowels until it
finds Albert Dekker in his straitjacket, rocking with delight at the thunderstorm outside:
"This is the exciting part... When its threatening, ready to break loose." As the Virtuous
Twin, Dekker wears business suits, is married to a thoroughly declawed Frances Farmer,
and is blissfully ignorant of the familial darkness stashed away. As the Damaged Twin, he
keeps his jaw stubbly and hides with the proletariat, is sweet on humid golddigger Susan
Hayward, and still hears his mothers screams rattling inside his head. Stuart Heisler
shows a keen sense of down-home expressionistic frenzies.
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At least there isn't two Eddie Murphy movies on this list. 1992
was close to achieving that rare accolade believe more
1993: Top15
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Sadly this list isn't a joke. I've seen so few movies from 1993 that
I wonder just what it is more
1994: Top15
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1994 was some year. Of course I didn't realise it at the time but
found out much later as when more
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This is not the movie life of me as a 12 year old, however I did see
many of these more
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What a year! I think maybe only 2007 can match 1999 for best
lineup of movies released in one year. more
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At the time of compiling this list his novel The Switch is in production starring Mos Def and
Isla Fisher amongstothers.
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Thomas Ringdal
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Thomas Ringdal
4 days ago
Ah, you mentioned it already....silly me, when will I learn to reat through the
entire description...
bbbgtoby
bbbgtoby
Thomas Ringdal
4 days ago
Walt hasn't been in that many good/great movies yet, has he? A shame QT cut
his role in Django down to the bare minimum.
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nevermind!
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rediscovery of his work in the 1980s for Hollywood to really pay attention. Movies adapted
from his work are staples of the neo-noir/film soleil of thatperiod.
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AngelFace
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STUDIO
Robert Mitchum
GENRES
Jean Simmons
Herbert Marshall
Raymond Greenleaf
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Barbara O'Neil
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RATINGS 70
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Review by Thor-Eirik Johnsen
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I think the greatness of this pitch black film noir can best be illustrated by a picture of the
amazing Jean Simmons:
somecamerunning.typepad.com/.a/6a00e5523026f588340120a801b200970b-800wi
She's like a beautiful tiger, you want to pet and cuddle it, but you know it will rip you to
pieces in the most horrific way given half a chance.
Great face, great character, exquisite film.
1like
Preminger's "Angel Face" is loved by many. I am unfortunately not a member of that club.
I liked a lot of aspects of the film, particularly the two lead performances. Overall though I
was not THAT impressed with the picture. I've seen better film noirs.
1like
Review by pileofcrowns
Robert Mitchum once said: "I have two kinds of acting. One on a horse and one off a
horse. That's it." He makes it all look so easy, and yet I've always felt Mitchum was
captivating to watch onscreen. Until I saw this film that is.
It's Mitchum's occasionally, well, dull performance that was the only thing I found
deficient in this film. Often his dry non-style of just reading his lines turned out perfectly,
his natural screen-presence and charisma working its magic like always, but at other times
I felt like I was watching a sleepwalker (or a guy just reading his lines). But no matter, it's
a minor complaint in the scheme of things, and while the criticism more
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Though not on par with Premingers great noirs (Laura, Where the Sidewalk Ends), Angel
Face is still very good, with decent performances from both Mitchum and Simmons who
plays a memorable femme fatale.
Review by anne_f_
"The angel face is that of Jean Simmons, a woman who will let nothing stand in her way.
Caught in her grasp is Robert Mitchum, playing a man who really wouldn't have behaved
the way his character did...."
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Apology forMurder
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RATINGS 2
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Hugh Beaumont
Charles D. Brown
Norman Willis
Russell Hicks
Pierre Watkin
Eva Novak
Wheaton Chambers
Sarah Padden
Budd Buster
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George Sherwood
Elizabeth Valentine
Henry Hall
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Ann Savage
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Appointment withDanger
1951 Directed by Lewis Allen
RATINGS 11
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13
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Alan Ladd
Phyllis Calvert
Jack Webb
Stacy Harris
Geraldine Wall
Murray Alper
Paul Stewart
Harry Morgan
George J. Lewis
Jan Sterling
Dan Riss
Paul Lees
Sid Tomack
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David Wolfe
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Sharp, cynical noir dialogue with a few terrific one liners and Phyllis Calvert's
performance as a sweet, yet feisty nun who unwittingly witnesses a crime make this stand
out despite its shoestring budget, crooks written to make dumb mistakes, a somewhat stiff
Alan Ladd and an unshakably 50's faith in government institutions.
Crazy! A movie with a pre-Dragnet Harry Morgan and Jack Webb as two hoods who
murder a postal inspector.
That's pretty cool, though once that initial surprise passes, settle in for a fairly average
crime thriller. Alan Ladd stars as Goddard, the post office man assigned to figure out who
killed his colleague. The trail leads him to a nun (Phyllis Calvert, Madonna of the Seven
Moons) who accidentally saw the killers, and then to the gang that set the whole thing off.
Webb plays sadistic bad man Joe, part of a smalltown crime ring set to rob a mail truck
for a cool million. Paul Stewart is the businessman who leads the would-be crooks, and
they operate out of more
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Armored CarRobbery
1950 Directed by Richard Fleischer
RATINGS 21
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Charles McGraw
Adele Jergens
Douglas Fowley
Steve Brodie
James Flavin
25
Gene Evans
William Talman
Don McGuire
Don Haggerty
Anne Nagel
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Lean, but perhaps too much so - this tale of hard-nosed cops tracking equally hard-nosed
hoods barely left an impression on me beyond procedural details (from both sides of the
law) and location shooting of urban and industrial Los Angeles circa 1950.
Decent and economical 1950s B-crime exercise gives the cops and robbers equal screen
time in the aftermath of the titular act. Double-crosses and shoot-outs are littered
throughout to keep things interesting, and it has some decent acting as well. At barely
more than an hour, its an easily enjoyable time-waster.
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Louis Calhern
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Sterling Hayden
Marc Lawrence
RATINGS 262
Jean Hagen
John McIntire
Marilyn Monroe
Anthony Caruso
Dorothy Tree
Teresa Celli
Brad Dexter
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Review by Jonathan White
I have to admit that I was a bit predisposed to like this movie, I might say even giddy. It
stars Sterling Hayden, and he plays two of my favourite characters in two of my favourite
films; The Killing, and Dr. Strangelove. While it could be argued, successfully, that he
plays the same character every time, I dont really care. I just love his no nonsense tough
guy delivery. Probably even more than James Cagney or Humphrey Bogart.
The first thing that struck me was the absence of score. Beyond the opening, there is
none. The second thing that struck me was the sumptuous cinematography. This is a
master plying his trade. This is the best looking and photographed Noir more
8likes
Review by Lise
I don't know why I expected Asphalt Jungle to be one of the best film noirs ever made.
Perhaps it was because I was so familiar with the title that I made that assumption. There
is little doubt that my very high expectations contributed to my disappointment.
The film isn't bad by any stretch; it just isn't the masterpiece I thought it would be.
It takes a while for the film to get going, and there is very little drama in the first few
segments to be fully engrossing. The word "flat" describes it best but I'm not sure I could
explain it if asked.
There is a very long introduction to all of the characters made interesting simply because
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7likes
There's part of me that, for the rest of my life, wants to watch nothing but movies about
criminal masterminds pulling off elaborate capers. What it says about me as a person I
cannot say, but the vicarious thrill I get from watching intelligent professionals pulling off
"the crime of the century" is frankly unmatched by any other type of film. As such, I have a
tremendous amount of admiration for John Huston's The Asphalt Jungle, as it is
generally considered the genesis of the modern heist film. But here's the funny thing
about this movie - it's probably the most unglamorous look at the inner-workings of a
criminal conspiracy that you could possibly imagine. For all the stories of more
7likes
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Much of the film is too talky and the police characters are shallow figures of drawn
dimension meant only to cater to the anti-crime message. 'The Asphalt Jungle', though a
solid - if unexceptional - film noir, could have done it darker.
Remembered for starting the crime subgenre known as caper (or heist/robbery) films.
John Huston directs the film with a fitting lack of flair, instead making it a gritty and ugly
film that while being an entertaining thriller also works as a convicting condemnation of
crime and corruption. Revolving around a group of criminals, lead by German mastermind
Erwin "Doc" Riedenschneider (Sam Jaffe), who devise a scheme for a jewelry heist.
Sterling Hayden quietly steals the show as Dix Handley, a brutish, small-time crook
described affectionately as a "hooligan." He is short-tempered and menacing, but we see
him in more tender moments with his lady friend, Doll (Jean Hagen), who gets him to
reminisce about his childhood in Kentucky and his more
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Backfire
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No one has reviewed this
leads to a surprisingrevelation.
CAST
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Jean Rogers
Larry J. Blake
Leonard Strong
Robert Shayne
Douglas Fowley
Sara Berner
Wynne Larke
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Richard Travis
John Eldredge
Louise Currie
Richard Benedict
Susan Klimist
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The BeatGeneration
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Steve Cochran
Louis Armstrong
James Mitchum
Irish McCalla
3
Margaret Hayes
Cathy Crosby
Vampira
Fay Spain
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Jackie Coogan
Ray Anthony
Dick Contino
Billy Daniels
Ray Danton
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Regina Carrol
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Behind LockedDoors
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Lucille Bremer
7
Ralf Harolde
Gwen Donovan
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RATINGS 6
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Richard Carlson
Douglas Fowley
Herbert Heyes
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Tor Johnson
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BerlinExpress
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Merle Oberon
Robert Ryan
Robert Coote
Reinhold Schnzel
Michael Harvey
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30
RATINGS 23
Charles Korvin
Otto Waldis
Tom Keene
Paul Lukas
Roman Toporow
Fritz Kortner
Charles McGraw
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For quite some time Robert Ryan has been one of my very favourite actors. He was
perhaps better known for many of his supporting roles but as he shows here, he was more
than capable as a leading man, even if the film itself isn't up to his standards.
This post-WW2 mystery drama centres on a train full of multi-national passengers who
become embroiled in an assassination plot involving a German who, after fighting an
internal resistance against the Nazis during the war, has turned his attentions to
reunifying his country. However, his enemies remain hot on his trail.
It's a slightly odd film, really. It employs an extremely intrusive voiceover that almost
works in a way to try and more
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Not even Tourneur can rescue this lousy script from its simplistic, can't-we-all-just-getalong premise. Perhaps only the Archers could have
Occupied territory is well represented. "Go America" vibe permeates to distraction. Great
vat fight with Ryan.
Ah, black and white thrillers set on trains! Interesting take of post-war European politics
as well.
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Mark Stevens
Edmond O'Brien
Gale Robbins
Anthony Ross
Grazia Narciso
Madge Blake
Cliff Bailey
Gale Storm
Roland Winters
Lora Lee Michel
Tony Barr
Donald Buka
Tito Vuolo
Jack Del Rio
Peter Mamakos
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Beware, MyLovely
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RATINGS 9
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Ida Lupino
Robert Ryan
Taylor Holmes
James Willmas
O.Z. Whitehead
Jimmy Mobley
Barbara Whiting
Dee Pollock
Brad Morrow
Ronnie Patterson
Jeanne Eggenweiler
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Obviously a time frozen allegory (but a good one, I think) organizing the cluttered trap of
existence for women of the era and the disturbing psychological effects of isolation men of
the era squared off with in the face of their own shortcomings (namely, being left out of
the hero-fest that started with a W and a W). Richard Ryan and Ida Lupino are terrific
sports and give tidy performances, even though most of the film is all about its subtext.
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Bewitched
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RATINGS 2
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Phyllis Thaxter
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Edmund Gwenn
Addison Richards
Kathleen Lockhart
Sharon McManus
Gladys Blake
Will Wright
Stephen McNally
Oscar O'Shea
Minor Watson
WATCHED BY
Francis Pierlot
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Virginia Brissac
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Beyond a ReasonableDoubt
1956 Directed by Fritz Lang
26
STUDIO
Dana Andrews
Arthur Franz
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Joan Fontaine
Philip Bourneuf
Sidney Blackmer
Edward Binns
Shepperd Strudwick
Robin Raymond
William F. Leicester
Dan Seymour
Joyce Taylor
Carleton Young
68people
Barbara Nichols
Rusty Lane
Trudy Wroe
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Review by Scott
This film pulverized me. It took everything I have that lets me cling to life. The trick is the
twist ending. The film is already pulling teeth, but probably most people thinks they have
it down. The can steel themselves: the hero has to die, it's just plain old Sophocles, and
Hollywood is too damn cheap to even dress it up for the twentieth century. This we have
practiced. I have practiced. But it turns out the twist is something primal. The twentieth
century is sick and dying because man is the only evil animal, whether he knows it or not.
Two points of clarification:
- Lang's fatalism is not Bergman's. Bergman sits in the shit and smiles while deluding
more
Review by anne_f_
"I had already seen the recent awful remake of Lang's film, I'm not sure if I would have
enjoyed this more if I hadn't known the twist in the story beforehand."
Review by bbbgtoby
Dull and silly script with quite astonishingly boring direction from somebody of Lang's
calibre. The same premise was told in a more interesting fashion in The Life of David
Gale.
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Beyond theForest
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Bette Davis
14
12
Joseph Cotten
Minor Watson
Dona Drake
David Brian
Ruth Roman
Regis Toomey
Sarah Selby
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By all means this is not a great script or wise casting choice, but the infallible Bette Davis
tackles it with aplomb. I'll never forget her furious portrayal of Rosa Moline in this hard to
find classic which features the famed line, "What a dump!"
1like
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The BigClock
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34
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Ray Milland
83
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Charles Laughton
George Macready
Rita Johnson
Harold Vermilyea
Dan Tobin
Elaine Riley
Margaret Field
Maureen O'Sullivan
83people
Elsa Lanchester
Harry Morgan
Richard Webb
Lloyd Corrigan
Frank Orth
Henri Letondal
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The Big Clock isn't quite cynical enough to be a true film noir, and seems to lack the
malice necessary to be a truly great thriller, but it's got a clever set-up for a game of cat
and mouse: Earl Janoth (Charles Laughton) is the tyrannical head of a publishing empire,
George Stroud (Ray Milland) is the true crime-magazine editor with a knack for finding
fugitives, and Pauline York (Rita Johnson) is Janoth's mistress whom he murders in a fit
of range after finding evidence of another man. Janoth insists George help find "the
killer", not knowing that George himself was the one who spent the evening drinking and
comiserating with Pauline.
The movie's got a couple of issues: First, more
Stylish mystery with good story and lots of drinking. Harry Morgan at his most menacing.
Review by I_Love_LUCy
The film meanders with no real definable plot. There is not enough of Laughton to carry
the film, although he does play an interesting character as usual.
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The BigCombo
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RATINGS 70
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STUDIOS
Cornel Wilde
102
46
26
Jean Wallace
Earl Holliman
Helen Walker
Jay Adler
Helene Stanton
James McCallion
GENRES
Brian Donlevy
Robert Middleton
John Hoyt
Roy Gordon
Richard Conte
Ted de Corsia
Steve Mitchell
Tony Michaels
Rita Gould
Baynes Barron
Bruce Sharpe
102people
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Review by Scott
Some snazzy, intimate noir filmmaking and storytelling that unfortunately misses a few
high stakes punches early on. Mainly I'm thinking the film lacks deliberateness concerning
Lt. Diamond's motives for chasing after Brown. Yea the part where it's pointed out he's
doing it because he's in love with Brown's girlfriend rather than the high-minded (but
underthought) crap about the titular combination more or less sticks out, but it's an
apolitical gesture that poisons the film a bit. Diamond is a bungler, always chasing after
the right thing for the completely wrong reasons, never stopping to question if he's as
smart as he thinks he is. This is interesting, but the film seems a bit oblivious.
Quite liked the ending, but it didn't have the force of a feature length film behind it. A
good film with regrets.
Review by Dominic
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1955
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The BigHeat
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Glenn Ford
Peter Whitney
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Gloria Grahame
Alexander Scourby
RATINGS 269
Lee Marvin
Willis Bouchey
Jocelyn Brando
Jeanette Nolan
Robert Burton
Adam Williams
452
149
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Review by alonso ruvalcaba
ni tan misgina como scarlet street, ni tan azotada como M, ni tan esperanzada como
hangmen also die!, sta es tal vez la mejor pelcula de fritz lang.
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Review by 48ONIRAM
Of all the Lang movies that I have seen post-Germany this is the one whose visual style
most resembles his German films. He always does a brilliant job but it seems that in some
of his other films he put less of his individual stamp on them. In here, the camera moves
constantly, there is gorgeous and interesting lighting, etc.
As a noir itself, despite its somewhat happy ending, it is pretty fucking brutal. Violent,
angry and depressing. Glenn Ford plays perfectly a good cop with a sweet home life. He
has morals and a really strong sense of justice being done. These good qualities are what
causes him to become twisted and dark as the movie goes on. His more
2likes
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Mostly because Dan Bannion is the good cop protagonist (played by roughneck Glenn
Ford), which was the real pole sticking up in this film noir flag waving contest. A
wonderfully moral-driven story that bewilders at start and makes satisfying sense at close.
A senior detective's suicide trickles events all the way down the path to the hero cop's
promotion, which he pays dearly for. Fortunately, Lang sidesteps the pungent anti-crime
tag, even slyly attempts a satirical film noir tone in early family breakfast scenes as
Bannion flirts with his wife and plays the good father (dumbass grin and fifties confidence
builder poster in hand). The domestic scenes play out emotionally overt as the rest of the
film stays oddly ambiguous, more
The film's blood runs hotter than Lee Marvin's coffee with moral disgust, but Lang's eye
remains critically, crucially cool. Easily a contender for the greatest 50's noir.
1like
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1953
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The TellTale
Heart
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The BigKnife
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Ida Lupino
14
Wendell Corey
Rod Steiger
Shelley Winters
Ilka Chase
Wesley Addy
Paul Langton
Nick Dennis
Michael Winkelman
24
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Jack Palance
48
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Jean Hagen
Everett Sloane
Bill Walker
Richard Boone
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Review by Jeremiah
Solid noir-drama that might feel a little too stagey for some. Worth watching for all the
actors especially Rod Steiger who devours the scenery.
Review by panaslave
One of the few Bob Aldrich films I had not seen is described as a noir, but in reality is a
kind of west coast version of 'Sweet Smell of Success.' Most of the movie takes place in the
huge Bel Air home of the lead, played by Palance-whom I never realized was such a large
and commanding figure. I feel like this is an indictment of how John Garfield was
harangued by the studios until his early death from stress and sadness. Garfield played
the lead in the stage play, penned by Clifford Odets, and his ghost hangs solemnly over
this production. Shot in 15 days, in huge one-ers by the terrific Ernie Laszlo, the film can
be quite more
Very stagey but that just highlights the great acting by Palance, Lupino, et al. Runs long
just the tiniest bit towards the end but ends with a bang.
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The BigNight
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RATINGS 6
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Preston Foster
Dorothy Comingore
Howland Chamberlain
Myron Healey
Joan Lorring
7people
Philip Bourneuf
Emile Meyer
Mauri Lynn
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The BigSleep
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Humphrey Bogart
Martha Vickers
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Lauren Bacall
Dorothy Malone
Charles Waldron
RATINGS 629
Regis Toomey
Louis Jean Heydt
John Ridgely
Peggy Knudsen
Charles D. Brown
Bob Steele
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I now know that I've seriously been missing out by not watching any 40s Noir or Bogart. I
found this utterly compelling, the dialogue, the mood, the humour. I had no idea where
the plot was heading to.
Thank you Toby. More please.
6likes
If youre looking for a noir that plays around with angles, this is not the way to go. If
youre looking for a noir were tone is essential, this is the film for you.
Hawks adaptation of Chandlers universe is dark and filled to the edge with shadows. The
plot takes you everywhere; its a world of intrigues and twists. Ambiguous, doublecrossing and manipulative characters are waiting around every corner; you really dont
know whos going to die next. As if that wasn't enough; the film is topped with snappy
dialogue. Fantastic!
4likes
It's a convoluted experience, not about answers in a case but a smoke and mirrors
investigation about mood, dialogue, faces, mystery, intimidation, an urban jungle of
would-be criminals, and everyone has a secret. This is an era in films unmatched to this
day. One of the great marriages of writing and acting.
2likes
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A lot of greatness, but the plot has too many holes for being so complicated.
Uno ve "The Big Sleep" tratando de entender su compleja red de intriga pero disfrutando
escenas aisladas brillantemente actuadas y disfrutando aun mas la quimica entre
Humphrey Boggart y Lauren Bacall (quienes fueron una de las grandes parejas en
Hollywood). Tal como otras historias del escritor Raymond Chandler, "The Big Sleep" es
como un laberinto donde cambian los motivos de sus personajes en cada momento sin
embargo es un deleite verla gracias a sus actores.
Sin duda es otra pelicula Noir muy recomendable.
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The Great
Piggy
Bank
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The BigSteal
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RATINGS 45
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Robert Mitchum
Patric Knowles
John Qualen
Jane Greer
William Bendix
Ramon Novarro
Don Alvarado
21
11
60people
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Review by Steve Grzesiak
You know, when discussions are had about the great directors in the history of cinema, the
name of Don Siegel is not often part of those discussions. For a while, I've thought that
maybe it should be part of said debates, and The Big Steal is more evidence that it should
be as far as I'm concerned.
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After all, this was a director that created outstanding examples of films noir, westerns,
crime thrillers, sci-fi horror and plenty of other genres besides. The Big Steal sees him reteaming Robert Mitchum and Jane Greer two years after the stunning Out Of The Past,
and while this is not in its class and feels more like a B-movie in comparison, it's a
really more
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Comes billed as a noir these days and trading on the reputation of Out of the Past. Here
Mitchum and Greer share the same excellent chemistry, this movie is at it's best when
they are flirting in the car chasing the money or evading escape.
It's more of a caper movie or romantic thriller than fatalistic noir but it has great mexican
location shooting, solid direction from the underrated siegel and a hell of a lot of sexual
chemistry. Mitchum and Greer are both incredibly cool in this one.
Only 71 minutes so it doesnt outstay its welcome. Just try to avoid the colourised print I
saw it on.
Review by nicksav
Semi-decent early film from Don Siegel. However, despite it's relatively short running
time, the film drags quite considerably.
Review by KasperL
Weak.
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TheBigamist
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Joan Fontaine
Ida Lupino
Edmond O'Brien
Peggy Maley
Edmund Gwenn
Kenneth Tobey
Lillian Fontaine
Jane Darwell
Matt Dennis
John Maxwell
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Review by sarahdobbs
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Ida Lupino seems like an utterly fascinating character, but really I think the story behind
this movie must be more interesting than the movie itself. Which is, as the title suggests,
about a guy who marries two women, because he's an idiot. The best sequence is when
Harry and Phyllis meet on a Hollywood tour bus; the rest is kind of boring.
Review by CJ
An interesting, low-key drama that suffers a little from being a dated "issue-led" film but
recovers ground through its strong dialogue, skillful avoidance of clich and excellent
performances from Joan Fontaine and Ida Lupino as the unfortunate wives of the titular
Edmond O'Brien. A worthwhile curio.
Review by anne_f_
"Very melodramatic, very 1950s, but pretty good at making us feel sorry for the bigamist,
instead of thinking of him as an evil family-wrecking lawbreaker."
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BlackAngel
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RATINGS 21
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Dan Duryea
37
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June Vincent
Constance Dowling
Freddie Steele
Peter Lorre
Wallace Ford
Ben Bard
Broderick Crawford
Hobart Cavanaugh
Junius Matthews
37people
Marion Martin
John Phillips
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Unremarkable film noir. Dan Duryea finally gets to play a role where he is not the killer...
oh, wait...
Musical romance murder melodrama. Lorre steals the show from somewhat stiff leads.
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Blackmail
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William Marshall
Grant Withers
Roy Barcroft
Ricardo Cortez
Stephanie Bachelor
George J. Lewis
Tristram Coffin
Adele Mara
Eva Novak
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Richard Fraser
Gregory Gaye
Bud Wolfe
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Blast ofSilence
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Allen Baron
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Molly McCarthy
Peter H. Clune
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Larry Tucker
Bill DePrato
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If every there was a film that defined the genre of pulp the most, it would be this. Most
pulp films have a black heart, but this film has a black heart that rots and oozes black and
white hate throughout the body. The intense blackness comes out of the screen and
wrestles you into your seat. Film Noir can be dirty, but this film gets right down in the
mud.
While many Noir's, especially studio ones, can be black, they have a studio sheen all over
them. Even classics like Night and the City and Double Indemnity feel as if they take place
in a foreign world. Blast of Silence takes place in New York City. Not fantasy New more
And this is it, baby boy Frankie Bono. You're alone now. All alone. The scream is dead.
There's no pain. You're home again, back in the cold, black silence.
Have to admit, Allen Baron is a filmmaker I knew absolutely nothing about before this.
Still don't, actually, but this was quite interesting anyhow.
Baron also plays the lead, and it turns out he's just one mole short of being the spitting
image of Robert De Niro! But he holds his own, and the film is quite cool. I like voice over
in cases like this, when they actually add something which can't easily be seen otherwise,
like thoughts not directly linked to the events taking place on screen. And it's more
2likes
A lean, mean Christmas noir, in which a self-hating hitman violence coursing through
him like a virus comes to NYC to do a job, but finds himself tempted by the lure of a
real life. The actings not always the best, but Larry Tucker is super as a sweaty gundealer, the location photography is absolutely stunning and theres a florid, doom-laden
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Gorgeous, cold, bleak, spare. Anchored by dynamite acting and shot completely on
location. NYC has rarely looked so right on. Takes us to Staten Island and the marshes of
the Belt Parkway, too. Nobody films on Staten Island, except Brian De Palma. It's 77
minutes of camera and character.
Review by bbbgtoby
You're a movie, one of the best they said. You've got a first time director with a vision, a
good vision. You're loved by Scorsese they said. You wonder just how much influence you
had on Le Samourai by Melville but you don't say nothing, what do you know about
French cinema, you're just some little film from New York doing the best you can with a
low budget. You're film noir they said, but you were made after A Touch of Evil so you're
different to your peers; you've got a jazz score to hide your lack of production sound,
you've got a second person narrative written by the blacklisted Waldo Salt and its so
hardboiled even you are more
Really pulpy and awesome. The narration was awesome. The only scene that felt a little
strange to me was the one with Frankie and the girl, Lori.
Felt weird.
Otherwise, AWESOME.
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