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It is very much a male-oriented film in subject matter and frame of reference with Charles Laughton commanding center stage. He is the very figure that we are meant to empathize with as an audience. But it’s precisely those qualities, along with the presence of director Robert Siodmak, that read more

The unofficial timeline for classic film noir is approximately given as 1941-1958 but of course, there are notable outliers including Stranger on The 3rd Floor (1940) at the front end and this film, Odds Against Tomorrow, bringing up the rear. Pictures with what can easily be categorized as noir se read more

Leave it to Sam Fuller to make a film such as this — the first Hollywood film to be shot fully on location in Japan. His admiration for Japanese culture is not unheralded, specifically making something of a point to portray Japanese-Americans in pictures such as The Steel Helmet (1951) and Th read more

Clash By Night comes from a stage play by Clifford Odetts and in one sense it’s extremely evident. However, being blessed by a still capable director in Fritz Lang and bolstered by quality talent does wonders for this squallish RKO drama. The portentous symbolism of Lang is on full display fr read more

The Narrow Margin is comprised of tight and lean drama where every bit of film is used judiciously. This should rightfully earn it respect as one of the preeminent shoestring budget films of all time within any genre. Because it’s easy to admire films that do a fine job with a plethora of res read more

Despite being ludicrously absurd, it’s impossible not to get whisked away by the swirling cauldron of psychological drama found in Whirlpool. Otto Preminger adds yet another perplexing noir to his filmography and it seems reasonable that Whirlpool along with The Fallen Angel (1945) and Angel read more

Otto Preminger always moves through space so fluidly with his camera, and Daisy Kenyon is introduced with a single scene, but it’s the perfect post for the film to hang its hat on. There’s Dan O’Mara (Dana Andrews) trying to get the cabby to keep the meter running only to relent read more

“Boy. What a week. I met you on Monday, fell in love with you on Tuesday, Wednesday I was unfaithful, Thursday we killed a guy together. How about that for a crazy week, Sue Ann?” – Anthony Perkins as Dennis Pitt Director Noel Black himself described the story as “a Walter Mi read more

Boomerang shares some similarities to Call Northside 777 and Panic in the Streets. Like the latter Elia Kazan film, this one boasts a surprising amount of real-world authenticity and a loaded cast of talent. Those are its greatest attributes as Kazan makes the bridge between the stage and the silver read more

The making of Aguirre, The Wrath of God might be as rich in myth as the film itself which charts a semi-fictitious story of Francisco Pizarro’s expedition to discover the golden kingdom of El Dorado. Not only was it the beginning of director Werner Herzog’s notoriously stormy partnershi read more

Josef Von Sternberg always seemed preoccupied with telling stories involving places that he indubitably knew little about but therein lies the allure. He could develop the Moroccos, the Shanghais, the Macaos into places imbued with far more meaning than they probably ever could have in real life. B read more

There’s no need to mince words here. With a film christened Scandal Sheet you already have a good idea of what you’re probably going to get before it arrives. That’s fine. Straight to the point can be good. But the media angle is only a half of it. It’s as much a film of lur read more

Yet another example of the prevalent trend of turning plays into film adaptations, director George Seaton took Clifford Odett’s eponymous work and plugged in three stars to carry the weight. Without question, the allure of The Country Girl is purely the trifecta of stars it assembles. Yes, it read more

The main conceit is just too delightful to ignore. It posits the following dramatic question: What if the boy who cried wolf saw a murder being committed immediately afterward? Because that’s precisely what happens to little Tommy Woodry. He’s one of those imaginative little boys who li read more

We open in a courtroom and with a flashback but what’s stunning is that the man relating the information is on the witness stand and also the defendant in a murder trial. So much hangs in the balance of the perspective he’s about to disclose and that’s how the picture nabs us. Oft read more

From the outset with Stanley Kramer’s name emblazoned over the opening credits it gives an indication of what this film is as does the name of Director Edward Dymtryk. Kramer is, of course, remembered as one of the most fervent socially-conscious producers behind a string of classics like Def read more

A real disaster. That’s what His Kind of Woman could have easily been because with Howard Hughes meddling in any production it was very likely that something would get dragged out, lopped off, or in some way switched around. In this case, the whole film was shot by John Farrow only for Hughes read more

A film like the Searchers (1956) or even The Bravados (1958) frames the western as a tale of vengeance where a vendetta is carried out from start to finish only to get twisted up along the way across moral lines. Pursued is a psychological western that takes up the story from the opposite end of read more

Like any self-respecting film noir, it opens with men whaling on each other amid stylized darkness. Edward Dmytryk’s Crossfire is an issue-driven picture and it’s an important one given the cultural moment in which it came into being. There’s no doubting that. But though the image read more

“Who are you, God? Didn’t you ever make a mistake?” – Cathy O’Donnell as Susan Carmichael Counselor at Law (1933) was an early William Wyler film from the 1930s that shares some cursory similarities with this feature. Along those lines, Detective Story proves to be an read more