Film noir

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The Lady from Shanghai - directed by Orson Welles, written by Orson Welles (screenplay), Sherwood King (novel)

"Some people can smell danger. Not me."

An Irishman (Welles) saves the life of a rich lawyer's wife (Hayworth) and is invited to their yacht as part of the crew. When he realizes the madness of the people he's dealing with, he's already in too deep and involved in a complicated murder plot.

Locations are lush, the plot is complex, the hero is an underdog, the villains are insane, and the girl is out-of-this-world gorgeous. This is one of my new favorites.

"Either me, or the rest of the whole world, is absolutely insane."

5- stars

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The Maltese Falcon (1941) - directed by John Huston, written by John Huston (screenplay), Dashiell Hammett (novel)

“I certainly wish you would have invented a more reasonable story. I felt distinctly like an idiot repeating it.”

Often regarded as the very first of the film noirs, the film that inspired the rest, The Maltese Falcon is a very complicated but coherent mystery with P.I. Sam Spade (Bogart) bringing a series of rare smiles to the role of a man beset on all sides. His partner is killed right off the bat and everyone else in the film is working angles he's got to uncover before he goes down for everything. At the center of the plot is the search for an artifact lost to history.

The mystery, the murder and the darkness in the fact that all the players are working their own agendas and against each other adds up to a fantastic film. It's as good as they've always said and lives up to the hype.

“If they hang you, I’ll always remember you.”

5- stars

Maltese Falcon.jpg

Merry Christmas, and be excellent to each other!

[Theli]

I'll bring the popcorn!

[Tommy]

OK that does it! Movie night at my house, we'll be watching Notorious to start with!
I've seen nearly all of Hitch's 50+ films and Notorious ranks in the top five easily.

[Theli]

Just for the record my favorites are:

Laura
The Big Sleep
The Big Heat
The Maltese Falcon (Huston's remake, there is an earlier version that is just OK)
Double Indemnity
Sunset Boulevard
Detour
Out of the Past
Kiss Me Deadly
Crossfire
Murder, My Sweet
The Killing

I've seen dozens and dozens of noirs but for the most part, these are the ones I keep coming back to over and over again. I'll add more if any come to mind.

Edit: Many of Hitchcock's can be considered Noirs but I tend to put him in a category all by himself. He is my favorite director so I can't help but recommend everything he's ever done!

I've seen a few Hitchcock flicks, none of which I would consider film noir, but have enjoyed all of them.

I agree with your assessment of The Killing. Great flick that starts out more like a heist flick, but seems to get darker as the film goes on. I also second The Big Combo and Detour, great flicks. I actually haven't seen In A Lonely Place, or Notorious, both of which are high on my "To Watch" list.

[Tommy]

Some french movies you might like

Les Diaboliques
Le Jour Se Lève
Pépé le Moko
Le Quai des brumes
Rififi
Touchez pas au grisbi
Bob le flambeur
Elevator to the Gallows
Le Corbeau
The Wages of Fear

Some of these are not strictly noir but I think noir fans would like them!

[Tommy]

In response to the Kubrick comment, Kubrick is my second favorite director and The Killing is often overlooked because of his other higher profile films but it is exquisite. Killer's Kiss is OK.

Off topic but watch Paths of Glory immediately as well!.

[Tommy]

Crossfire was one of the first "classic" films I ever saw. I had to try and see them all after that! It involves the murder of a Jew by an anti-Semitic character. In the book, it's a gay character killed by a homophobe. Hollywood was very interesting back in the day.

I've heard it argued that every male character in Rope can be construed as being gay. Hitchcock was definitely fascinated with the subject and in most, if not all of his films, some character can be identified as LGBTQ, through subtext of course. Strangers on a Train is the other most obvious example. Also, pay attention to the spooky Mrs. Danvers in Rebecca, definitely something up with her!

Watch Notorious immediately! It is his most flawless film. Might not be his best but it is perfection.

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Thanks, Tommy! I've added Crossfire to the list. And thanks for the story on In a Lonely Place, too! I had no idea that went on. What a killer movie.

That's two votes against Casablanca, and I know that one's arguable. I'll try and watch it again after I've seen most of these and may end up removing it from the list. Hopefully I can come back with a fierce argument for its inclusion, but you guys are maybe (probably) right.

I didn't catch the gay subtext for Gilda (now that I think about it I probably should have), but certainly did for Rope! And I agree, Hitchcock has a lot in common with noir but I identify them separately, too. A few certainly seem like true film noir, like Shadow of a Doubt and Rope (neo-noir, I guess), as well as Notorious (haven't seen) and arguably Rebecca (haven't seen). And surely there's others--may have to case-by-case it. Still, mounting any kind of argument for or against seems a slippery slope. I tend to think of Hitchcock as his own genre, and while he did some traditional noir, his main body of work is more a brother to it.

I'm so excited about this genre that it's killing me. It's like finding a large vein of a whole new precious metal in a mine I've been working my entire life but never paid attention to, mostly out of ignorance. And there have been some great comments and additions to the list so far! Looking forward to your posts!

*edit - For favorite director, I'm a Kubrick guy, but I've never gone earlier than Spartacus. Which means, I haven't seen Kubrick's film noir! Can't wait!! \o/

[Tommy]

Just for the record my favorites are:

Laura
The Big Sleep
The Big Heat
The Maltese Falcon (Huston's remake, there is an earlier version that is just OK)
Double Indemnity
Sunset Boulevard
Detour
Out of the Past
Kiss Me Deadly
Crossfire
Murder, My Sweet
The Killing
The Lady from Shanghai
The Asphalt Jungle
The Third Man
Touch of Evil
Night of the Hunter

I've seen dozens and dozens of noirs but for the most part, these are the ones I keep coming back to over and over again. I'll add more if any come to mind.

Edit: Many of Hitchcock's can be considered Noirs but I tend to put him in a category all by himself. He is my favorite director so I can't help but recommend everything he's ever done!

[Tommy]

Gilda (1946) - directed by Charles Vidor, written by E.A. Ellington (story), Marion Parsonnet (screenplay)

“I hated her, so I couldn’t get her out of my mind for a minute.”

Cynicism dresses the stage as a down on his luck but talented grifter gets an honest job at a casino from the head of a cartel that saves him from a mugging. His new boss meets and impulsively marries a woman from his past which forms a dangerous love triangle further complicated by murder.

A stunning Rita Hayworth freezes time with her first look toward the camera, and she plays the type of man-eating femme fatale capable of destroying everything around her. The cast turn in great performances, especially our grifter Glenn Ford, but the film sizzles because of her.

5-

Some gay subtext going on with this one between Glenn Ford and George Macready that puts the picture in a new light upon rewatching it. Notice the scene at the beginning when Macready lights Ford's cigarette and the look that Ford gives him? Since the Hayes' code was in full swing, this was about as suggestive as films could be at the time about such things.

Another OK Noir is one called The Big Combo. What's interesting about it is Lee Van Cleef is in it in what clearly appears to be a gay relationship. It's quite astounding to see it now but I wonder how many folks picked up on it back then?

And just by the way, I envy the hell out of anyone getting to watch Laura for the first time.

[Tommy]

Great review as always Andrew. Nicholas Ray had quite a colorful life. It's rumored he was carrying on affairs with all three of the stars of Rebel without a Cause during the filming. There is a very scandalous story attached to In a Lonely Place concerning Gloria Grahame (Nicholas' wife at the time of filming) and Nicholas' son being found in bed together. His son was 13 at the time. She later married the son. As usual, the stuff going on behind the scenes was more juicy then the stuff in the movie!

Noir is one of my favorite genres, I might be posting here a lot!

Casablanca is not a noir to me. It is a drama/war/romance film that is dressed up to look like a noir. To me, the film is way too hopeful to be noir. Ingrid Bergman is not a femme fatale and Rick might be cynical but by the end he is sentimental and does what's best for everyone else besides himself. I love Casablanca dearly but it has never struck me as a noir.

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In a Lonely Place - directed by Nicholas Ray, written by Andrew Solt (screenplay), Edmund H. North (adaptation), and Dorothy B. Hughes (story)

“I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.”

A Hollywood screenwriter, bordering on washed-up, brings a check girl from a restaurant home with him to give him cliff notes on a book he doesn’t want to read. Afterward he sends her away. By 5 am the next morning, the police are at his door questioning him for the girl’s murder. The eccentric writer has a tenuous alibi from a neighbor who saw the girl leave the night before, and the two quickly form a romantic relationship while the murder investigation deepens.

This is a well-paced tragic mystery with compelling leads, including a weathered, slightly unhinged, violence-prone and hyper-intelligent Bogart and a cool, world-wise and insightful Gloria Grahame, who pulls off an amalgamation of honey and steel. In a Lonely Place is exemplary not only for noir storytelling but for the medium in general--it’s a beautiful, romantic, dark and dangerous film. Respect must be paid.

5 stars

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Thanks for the offer, Theli. I'll definitely hit you up when the time comes, after I've got a strong footing.

[Theli]

Oh my goodness: CAGNEY!
— Angels With Dirty Faces
— The Roaring Twenties
— White Heat
...so many more, but those are my top three.

I second (or third?) Rebecca, as well.

A lot of Cagney's (along with Edward G. Robinson's) early flicks were more gangster than noir to me (but honestly it just comes down to labeling, which is at least somewhat subjective), great flicks nonetheless. Kiss Tomorrow Good Bye was a solid flick too, and like White Heat, more in the film noir category than his earlier works. Great actor.

When you've you worked your way through most of your list Andrew, drop me a line. I've watched a lot of lesser known film noir too and could probably give you some more tips. Honestly though your first list there has most of the greats, and you're doing damn good working your way through it so far.

The Third Man (1949) - directed by Carol Reed, written by Graham Greene

A broke American writer (Joseph Cotton) receives a job offer from his friend and travels to post-war Vienna to accept. On arrival he finds his friend (Orson Welles) has been hit by a car and killed. As our writer asks a few questions and receives answers from various witnesses, he realizes their stories don't quite make sense and begins looking into his friends death which he suspects is murder, immediately running afoul of police.

This British noir is surprisingly funny as our writer bumbles his way through an area in the foreign city where multiple languages are spoken and many people can't understand each other, and the lively music heightens the humor. Many people consider film noir American only; nevertheless, this one nevertheless appears in multiple best of noir lists. It's smart, funny, and has an outstanding, poignant ending.

5 stars

Though it is mostly an American art form, you will find films like this one, and the Mask of Dimitrios and a few other that prove the exception.