Film Noir

Private eye Philip Marlowe is hired to investigate the blackmail of a young heiress but when the corpses start to pile up, he realises that the case has more than meets the eye. I love Film Noir, and Bogart for me is the best of its leading men. Bogart and Bacall have one of the greatest screen partnerships and Chandler was one of the best exponents of the art of the detective story. The plot has more twists and turns than a sidewinder that's swallowed a corkscrew, it involves a femme fatale who could melt a polar ice cap and dialogue that's more hard boiled than beelzebub's breakfast egg. It just doesn't get any better than this. The greatest Noir ever made.

Classic tale of cynicism and manipulation featuring reporter Kirk Douglas deliberately hampering the rescue of a trapped mine worker for his own ends. A superb performance and a very clever and insightful script.

A lot of films that are considered "classic" are viewed because you feel you ought to rather than because you want to, and the result can be disappointment. The Maltese Falcon is an all-time classic that not only deserves to be seen, but demands it. Bogart's cynical anti-hero was far from the square-jawed do-gooder that was the staple of the crime story of the time, and Huston's own adaptation of Hammet's novel has barbed dialogue zinging off every character like a hail of ricocheting bullets. Some examples of this type of film can be too convoluted for their own good, but the comparatively straightforward plot of The Maltese Falcon makes it the perfect entry point for anyone interested in Film Noir, and what you'll find is a wealth of taut, witty dialogue, timeless characters and one of the best detective movies ever made that arguably was the starting point for an entire genre. And to think... this was John Huston's first film! Remarkable.

Brilliant revisitation of the classic Film Noirs of the 40s and 50s. Spacey, Crowe and Pearce are all excellent.

Brilliant plot, fascinatingly told in reverse that kept me guessing til the very end.

Visionary director Ridley Scott's science fiction/film noir hybrid spawned an entire sub-genre (usually referred to as "tech noir") and William Gibson, who's novel Neuromancer is largely credited as the birth of cyberpunk, actually freely admits that Scott did it first. Based on a story by Philip K. Dick, it follows the pursuit of four rogue androids by Rick Deckard, a "blade runner" who's job it is to hunt them down and "retire" them. Scott's vision is the continuation of the idea of the everyday of the future that he started in Alien. Most cyberpunk looks very silly and clumsy in this day and age, but Blade Runner still has a feeling of authenticity about it; Scott's dystopian future is a bustling, overpopulated melting pot of styles and cultures brought to life with inventive model effects, sets, costumes and lighting, not the usual CG overload concocted by animators and IT consultants we've become so accustomed to. And it still looks incredible considering it was made a quarter of a century ago. Ford's noir-esque anti-hero is a paranoid burn-out who constantly questions his role, up against a typically intense Rutger Hauer coming to terms with his burgeoning emotions; their final showdown is one of the best ever committed to celluloid. The Final Cut is a little too similar to the Director's Cut to recommend to anyone who already has it, but it's much better than the theatrical release. Which was concocted by studio executives who clearly thought they knew more about film making than Scott, and inexplicably added some unused footage from The Shining to give it a "happier" ending and a voice over in which Ford states the bleeding obvious, which is very useful if you are either blind or terminally stupid. Like a studio executive. A sci-fi classic and an all time personal favourite.

A longshoreman and ex-boxer has a crisis of conscience when the gangsters who control the union murder a fellow dock worker. On The Waterfront is one of those films that is almost famous for being famous. Nearly everyone can recite Brando's most quoted line, but this infamy means its reputation precedes it which can obscure just how good a film is. And this is not just a good film, it's an incredible one. Brando's powerhouse performance has also overshadowed those of the other members of the cast, but Lee J. Cobb, Rod Steiger and Eva Marie Saint are all worth far more than just an honourable mention, and the classic "I coulda been a contender"scene is just one amongst many memorable and powerful moments; Karl Malden's speech that provokes Terry's change of heart, the discovery of his brother, the confession to Edie in the boatyard...the list goes on. Examinig many themes in a multi-layered story of corruption, redemption and one man standing up for what is right, On The Waterfront is one of the true greats of American cinema.

A Texan welder stumbles across the aftermath of a drug deal gone wrong and helps himself to the $2 million in cash no-one is left alive to claim. Unfortunately he does not count on a single minded psychopathic killer with a tracking device...This film basically distills elements of all their best work and creates a cold and cynical statement on the state of man. Javier Bardem's character is the most chilling and amoral bastard you will ever see; on more than one occasion he reminded me of a terminator with bad hair, except more cold-blooded! The pursuit of the stolen money just leads to bloodshed and tragedy for all involved, many innocents dying for just being in the wrong place at the wrong time. The underlying theme is the randomness of life; good things DO NOT happen to good people and there is no karmic "masterplan". This means that the ending may leave some feeling a little cheated because things aren't tied up nicely into a complete and satisfying package as so many stories are conventionally presented. But the journey there is as gripping as anything you are going to see; it has the tension, brooding atmosphere and cynicism of Blood Simple, the pragmatic investigation by a dismayed lawman in a similar way to Fargo and the style and brutal violence of Miller's Crossing. The shoot out between Bardem and Brolin is one of the best I've ever seen, reminding me of Michael Mann meets Peckinpah with a dash of Assault On Precinct 13. It is a case of the journey being better than the destination, but any Coen brothers fan will not be disappointed; they are back to their best.

This pitch black hearted noir was something of a flop on its release, and it's not difficult to see why. Not through lack of quality, but rather the fact that its unrelenting cynicism and bleak outlook is certainly not for the faint hearted. Tony Curtis turns in easily his best performance as Sidney Falco, an obsequious press agent who is perfectly willing to sell his soul to get on top, and Burt Lancaster is similarly superb, brilliantly cast against type as a cold-hearted tyrant (even describing an attack on his character as an attack on his country, the cry of despots throughout the ages) who controls all around him through contemptible manipulation. The core of the film is the creepily ambiguous relationship between he and his sister; at one point he refers to her "apron strings", an allusion to motherhood, but he also keeps a portrait on his desk as one would a spouse or lover... It is unusual in that instead of fists and bullets, all the damage is done through words and insinuations; the razor sharp dialogue is amongst the best ever written for the screen, and the magnificent photography represents the city streets as blackly as the protagonists' hearts. The package is completed by a soundtrack of fantastic contemporary jazz and the overall result is one of the pinnacles of film noir.

Fresh out of prison, a career criminal cooks up an ingenious scheme to rob a racetrack. An early film from Stanley Kubrick, and yet another masterclass. He takes to the visual trappings of Film Noir and creates one of the most efficiently told and tautly directed heist films ever made. Sterling Hayden is perfect as the straight-talking, street-wise mastermind, as is Marie Windsor's Machiavellian femme fatale who twists doomed sap Elisha Cook Jr round her little finger. So much of this film has influenced some of the best directing talent working today that it still feels remarkably contemporary; Tarantino owes much to the over-lapping timeline in particular, and the mix of off beat characters, violent crime and cruel twists of fate is straight out of a Cohen brothers movie (Vince Edwards actually looks the spit of Peter Stormare in this film!) In fact the only element that dates it is the newsreel style voice over, although it does help fit the pieces of puzzle together quite well. Johnny Clay was a brilliant character whom I would have liked to have learned more about, to the point where you are almost sorry to see him caught. But wishing the film was longer is hardly the most damning criticism! Is there any genre Kubrick couldn't do?

Great cast in an extremely atmospheric supernatural noir thriller set in New Orleans. Dark, brooding and with a very powerful ending.

Fast talking insurance salesman Fred MacMurray falls for beautiful but ice cold oil tycoon's wife Barbara Stanwyck and together they hatch a scheme to kill off her husband for the insurance money. Using the classic technique of beginning at the end, the entire story is narrated by a blood stained MacMurray as he gives his insight into the downward spiral his life took the moment he got involved with the irresistible femme fatale. Stanwyck is perfect in this role; glamorous, but with a steely gaze that belies the emptiness of her heart. As is MacMurray playing the sap who thinks he is in control, but Edward G. Robinson still manages to steal every scene he is in as the wily investigator. Anyone looking for a feelgood movie with a happy ending should give this one a miss, but if it's an expertly written, brilliantly played and influential cornerstone of an entire genre you want, this is straight down the line...

James Cagney's most famous role as a mother obsessed psychopath duped by an undercover agent. Hugely influential formula, copied umpteen times by Hong Kong cinema, and of course, QT in Reservoir Dogs.

Jack Nicholson stars as J.J. Gittes, a private detective hired to investigate an alleged marital indiscretion but uncovers more than he bargained for including deceit, corruption and murder. Right from the self consciously retro titles, Polanski sets out his stall; to recreate the classic noirs of the 40s and 50s, and a damn fine job he does too. Even to the point of casting legendary director John "The Maltese Falcon" Huston. Nicholson is at the height of his powers as the world weary ex detective and is complimented perfectly by Faye Dunaway with a possibly career best performance as the glamorous yet vulnerable femme fatale. The intelligent script constantly wrong foots you, playing with your assumptions and Polanski's direction is suitably hard boiled, shadowing Gittes as he uncovers the grim truth behind these unsavoury events. A fine homage and addition to one of my favourite genres and essential viewing for fans of crime drama.

A ruthless mobster and his gang hold a group of hotel guests hostage during a hurricane on the Florida Keys. Another Noir from John (The Maltese Falcon) Huston featuring the classic pairing of Bogart and Bacall, this film does not quite live up to the promise of these ingredients, but that's a hell of a pedigree to live up to. Making Bogart a do-gooder war hero and Bacall a doting widow takes the edge off their usual cynical, hard-bitten sparring and this overly wholesome approach means that the crackling chemistry they have shown in their other films is compromised. Robinson and Claire Trevor as his soused moll provide the best moments, and his sneering diatribes against Bogie's moral stand are great. The hurricane enclosed setting makes for a nice pressure cooker environment in which the protagonists show their true colours and puts an interesting spin on the usual Noir ingredients. Maybe not the most original or inventive examples of the genre and it misses the firecracker dialogue of the likes of The Maltese Falcon, but it is still effective, atmospheric and constantly entertaining.

After a panicky phone call from an ex-girlfriend, a high school student finds her dead and sets out to find out what happened to her. My first thought about this film was "Heathers rip-off". This soon became "David Lynch lite". But then it became something wholly different; it was as if I were watching the film evolve as it unfolded. Essentially it's a film noir relocated to a high school. All the types are present; cynical loner as self-destructive anti-hero seeking atonement for some past crime, the intellectual nerd as steetwise sidekick, prom queen as manipulative femme fatale, high school musical diva as gold digging vamp and dope dealing stoner as the petty hood cum stool pigeon. These characters are so well realised and "adult", you often forget the whole school setting, and the director cleverly reminds you from time to time with wit and humour; the fact that the sinister "kingpin" still lives with his mom a prime example. The hardboiled dialogue is especially well recreated, the machine gun delivery almost too snappy; I found myself rewinding the DVD so I didn't miss anything. The use of light and shadow is also particularly effective, especially when Gordon-Levitt is "enlightened" with the use of a mirror in a darkened basement. This film shows an understanding of the genre rarely seen outside of a Tarantino flick, and has single-handedly restored my faith in indie cinema after recently enduring the dismal You And Me And Everything That Blows. Rian Johnson is definitely a name I will be looking out for in the future.

Robert Mitchum plays a rancher who has been stalked since childhood by a one armed man with a grudge, without ever knowing why.The themes of twisted psychology, sibling rivalry, jealousy and revenge presented by shadow steeped photography and narrated by Mitchum who is on top form as the hapless anti-hero who is unwillingly forced to kill by circumstances beyond his control all point to the same thing; I don't care how many stetsons or six guns are on show, this IS Film Noir. The intelligent character driven plot is all very Freudian, which makes for a very unusual hybrid of genres. It looks fantastic and has a solid supporting cast, the pick of which is Judith Anderson as the matriarch whose guilty secret lies at the core of the events Mitchum finds himself caught up in. I'd never heard of this one before, and I'm glad I stumbled upon it. If you like Noir, westerns, or classic film in general, it's worth hunting down a copy.

William Holden stars as a down on his luck screen writer who stumbles upon faded silent movie star Gloria Swanson whilst avoiding some repo men. He sees her as an opportunity to hustle a few bucks only to find himself mired deeper and deeper in her isolated, nightmarish little world. Another cynical classic from Billy Wilder, this film is a black hearted satire on Hollywood society and its obsession with image and self. Swanson is brilliant as the hilariously awful ex-starlet who surrounds herself with her own image, incapable of dealing with a world that has passed her by. Holden's character is not much more sympathetic as the self-interested operator, consumed with self loathing at his own parasitic relationship with the quite clearly insane old dame, and Erich Von Stroheim is creepy as hell as he lurks around, feeding his mistress' self delusions of grandeur. Similar, although not quite as good as Whatever Happened To Baby Jane, the lack of likable characters make this a little hard going, and it's a little melodramatic for my tastes, but the sharp dialogue, excellent performances and bizarre mix of psychological horror and black comedy make for fascinating viewing.

A newly formed crew pull off a million dollar jewel heist but when they are doubled crossed by their financial backer, all their careful planning falls apart. Similar to Double Indemnity in that what seems like a perfect plan unravels because of circumstances out of their control combined with weakness of character, The Asphalt Jungle is also the blueprint for the modern heist movie. Noir had evolved from the affected and literary roots of Huston's debut, and it resembles the contemporary crime film far more in its grittier style and more naturalistic characters and dialogue. Sterling Hayden is the pick of the cast of comparatively little known character actors, and the straightforward honour and dignity of a man who is assumed to be nothing more than a violent street thug contrasts both with the obsequious and double dealing face of respectability played by Louis Calhern and the corruption of the dirty cop who breaks the case. On the down side, the female characters are a little weak and the ending feels more anti-climactic than bleak and so I personally prefer the convoluted plotting and punchy firecracker dialogue of earlier Noirs, but for those used to more realism in their tough guy street dramas, this is a great starting point.

Classic drama that sees childhood friends James Cagney and Pat O'Brien growing up on different sides of the law (no prizes for guessing which is which!) A great morality tale that rarely feels overly preachy, with a memorable finale in which Cagney finally swallows his pride to find some kind of redemption.

Another classic from the master of suspense. An ingenious plot co-written by
Raymond Chandler and another example of villainy being far more fun to watch than square-jawed do-gooders! Also the inspiration for Danny Devito/Billy Crystal comedy Throw Momma From The Train

When a sleazy private eye becomes entangled in a love triangle between a bar owner, his wife and employee, events take a sinister and bloody turn. The Coen brothers first film features a cast of excellent character actors rather than Hollywood "stars". The low budget feel actually adds to the atmosphere of the piece, a seediness permeating the proceedings; the burial scene is particularly unsettling. Barry Sonnenfeld's photography is stark and steeped in shadows following the best traditions of film noir, and the plot has a grittiness that has more in common with the hard boiled noirs of the 40s and 50s than more contemporary thrillers. In some ways it is their most mainstream film as it lacks the quirkiness that became their trademark, but it's a fine debut.

I'm a big fan of film noir, so this pastiche from Shane Black seemed to be right up my alley, and it didn't disappoint. Much. It's perfectly cast, with Downey jr's low rent crook-wanna be actor playing off Kilmer's dismissive hard-boiled pro detective brilliantly, and the post-modern narration is a master stroke. I even loved the title sequence. The problems only started to creep in as the story reached it's climax, and Black shrugged off the witty noir deconstruction to settle back into the usual 80s style macho excess that he made his name on. Just when I thought he'd grown up, no...here it comes. The torture sequence. The car chase. The shoot-out on an overpass (yet again.) But I have to say, at least age has tempered his misogyny to some extent in that he created a female hero (albeit one who "****ed EVERYONE in school.") Funny, stylish and entertaining, it could've been brilliant if Shane Black would just GROW UP.

In one of Bogart's least sympathetic roles, he plays the sociopathic leader of a group of criminals holed up in an ordinary family's home. The tension builds as the gang get increasingly desperate and paranoid while the family attempts to escape their captors. Gripping.

Fritz Lang directs Glen Ford as an uncompromising cop on the trail of organized criminals and corrupt officers in his own department, and when a car bomb kills his young wife, the gloves definitely come off...One of the toughest early noirs you're going to see, Ford reinforces his tough guy credentials and faces off against a young Lee Marvin as a brutal mobster. The on and off screen violence is some of the most brutally realistic you are going to see in a film of this era; I can't remember an earlier film that featured a car bomb, and as such this can be seen as a direct influence on the modern gangster flick. The sentiment is ladled on a little too thickly in portraying Ford's home life, the other female characters (Gloria Grahame's tart with a heart and woman scorned, and Jeanette Nolan's cynical opportunist) are far more interesting but otherwise, it's close to flawless. Classic noir that's as tough and uncompromising as it's star.

Gambler Glenn Ford is torn between ex lover Rita Hayworth and his loyalty to the friend he owes his life to leading to one of the most dysfunctional romances ever to grace the silver screen! Hayworth is absolutely stunning as the manipulative seductress and the on screen chemistry between her and Ford is the main reason why this film works. Their love-hate interplay is fantastic and the way your sympathies shift from one to the other is very nicely done. Unfortunately I found the plot little more than window dressing that is thoroughly overshadowed by the leading couple, and it all resolved itself a little too easily for me. But there are some really nice visual touches using light and shadow, thoroughly in keeping with the great tradition of Film Noir and it's certainly worth the time for Rita alone.

When a hoodlum staggers into a police station and confesses to the murder of his girlfriend, it sets in motion a chain of events which leads to D.A. Humphrey Bogart following a series of clues and bodies uncovering a group of ruthless contract killers. All the elements of film noir are in place, including gritty violence in darkened streets and tough, uncompromising characters. The structure is a little episodic, most of the story being told in flashback, and it would've benefited from giving more screen time to Bogie himself, but it's still a tautly directed and well shot minor classic of the detective genre.

Directed by a cinematographer, and it shows. One of the best looking noirs filmed in high contrast black and white, and Edmond O'Brien is interestingly cast out of his usual whiter than white type. The only blemish is the bizarre use of a comedy flute noise every time he encounters a member of the opposite sex, which as you can imagine, does not sit very well with the otherwise grimly dark atmosphere. A great concept, well executed, and far better than the gimmicky remake.

A man jailed for killing his wife escapes and with the aid of a beautiful well wisher attempts to reveal the truth behind her death. This film is mainly known for the first person gimmickry of the first half in which the action is seen from Bogart's point of view and for being the least of Bogart and Bacall's on screen pairings. The direction although gimmicky is actually quite a technical achievement and makes it feel quite contemporary still, and the whole film looks very, very nice, concealing Bogie's face in shadows and making excellent use of some great locations (surely Hitchcock had this film in mind when he made Vertigo). Unfortunately this gimmick causes other elements of the film to suffer; Bogie's on screen presence is sorely missed, and his wordless, bandaged face means that Bacall spends much of the time talking to herself. The chemistry of the stars and an intriguing mystery keeps it more than watchable however, and if the story had a satisfying resolution it could have been one of the greats. Unfortunately, it doesn't. Well worth watching for some nice performances and clever visuals, but its plot is lacking which relegates it to a comparatively minor star in the Film Noir firmament.

Another solid noir from Otto Preminger, in which hard-boiled detective Dana Andrews juggles catching a murderous hood, covering up his accidental killing of a suspect and clearing the name of an innocent man who appears guilty of his crime. And he still has time to romance Gene Tierney.

The beautiful Gene Tierney plays the kind of girl every man can't help but fall in love with,unknowingly inspiring lust, jealousy and obsession in all around her with tragic consequences. One the the classic noirs from Otto Preminger, this film is rather more romantic and less cynical than most as well as an exercise in cinematic economy. Not one scene, not one line is wasted, which in the current climate of lumbering 3 hour ego trips is hugely refreshing. It also has some fantastic dialogue, particularly from Clifton Webb's witty intellectual yet bitter columnist. Vincent Price's turn as a self-centred playboy does not entirely convince, but this is the only real weak point of note; otherwise it will keep you guessing til the end.

A down on his luck pulp novelist arrives in post war Vienna on the promise of a job from an old friend, only to find he has been killed in a car accident. Convinced of a conspiracy, he investigates. Graham Greene's adaptation of his own novel has a hell of a lot to commend it; an intriguing mystery set in beautiful locations, with some gorgeous cinematography and full of wonderfully framed shots by director Carol Reed. Cotten makes an interesting departure from the usual Noir protagonist, both a fish out of water AND out of his depth. Trevor Howard is also great as the officious British investigator and Alida Valli is a beautiful, vulnerable yet complex love interest. It has only one flaw for me, but it's a near fatal one. The soundtrack is so intrusive and inappropriate it almost wrecks the film completely. It is far too loud, totally antagonistic towards the atmosphere the director and cinematographer had worked so hard to achieve and virtually constant. It's like trying to watch The Maltese Falcon sat next to the band in a Greek restaurant and it seriously grated on my nerves. It's a real shame because pretty much everything else about this film is excellent.