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» 77
by Don Malcolm
Long thought lost, Stevens' grim exposé of gender roles and sexual psychopathy may be the missing link in noir's transition to the sixties.
» 76
by Robert E. Smith
"The morally complex interrelationship of hero/villain, which is partially accountable for the remarkable intensity of his films, has at its roots the film noirs of the 1940s. The darker side of human nature, the interiority of these earlier, psychologically troubled characters, is the determining force in Mann's noirs. We see the director striving for the depth and complexity of characterization he ultimately achieved in the great films of the 1950s."
» 73
by Allen H. Redmon
"While Altman's description of the detective and his generic milieu as it evolved by the early 1970s works up to a point, the idea that his film closes a genre fails under examination. Such a position misjudges the primary pleasure derived from the American detective film, and misinterprets the satisfaction The Long Goodbye's ending provides when set within this pleasure and these films."
» 71
"In between the idealized lover and the cantankerous old goat lay a handful of roles in which Howard managed to simultaneously embody and undermine the archetypal Englishman."
» 69
"While films about men with dangerous jobs showed them returning home to supportive, contented wives, films that focused on domestic settings showed women caught in oppressive relationships or warped by the narrowness of their emotional lives."
edited by Alain Silver, Elizabeth Ward, James Ursini, and Robert Porfirio.
» 68
by Peter Forster
"The filmmaker, having scrupulously established the world of film noir, queers it by shattering the categories — both narrative and cinematic — of the world itself."
Or Advanced Guide to Cinematic Survival?
» 66
"I don't need other people. I don't need help. I can take care of me."
"His plan mirrors Johnny's, that is, pieces of the plan are known to one person: Johnny and Stanley; and not until the end do we see most of their pieces come into place."
» 65
"Noir films with non-urban settings exploded the idea that escape into a safer or healthier world was possible, showing how temptation and violence can attack anyone, anywhere."
by Roger McNiven
They're not fifty feet tall, but they might as well be
» 58
Mike Hammer deconstructed, or Mike Hammer disrespected?"
by Jason Mark Scott
Welles bids farewell to Hayworth and Hollywood
» 54
by John Belton
"The black sheep of the family, noir's tramps are the tin-age antithesis to Chaplin's golden-age thesis."
Alien nation
by Daniel Barth
Faulkner: "Some good pictures come out of Hollywood. God knows how, but they do."
by Kit Lynes
"Oh, that is excessive."
"Cage's Michael is a model of the terse, slightly wasted working-class guy who acts as a punching bag for malevolent Fate."
by Joe McElhaney
All the colors of darkness
» 48
This long-missing noir masterpiece enters the canon in first place
» 45
Set in a cheesy carnival, the film presents an unforgettable gallery of grotesques whose lives intertwine romantically, criminally, and, ultimately, fatally.
» 44
While Widmark and Peters turn up the heat, Thelma Ritter steals the show in this seminal noir, now on DVD
» 34
It's just Lynch being Lynch. And that's a good thing.
» 31
Detour (1945) has one of the more convoluted plots in noir, packing a flashback structure, an extended voiceover, a cross-country trek, a mysterious death, an "accidental" murder, an identity exchange, an unforgettable femme fatale, and one of the most pathetic, masochistic antiheroes ever into its 67-minute running time.
» 29
The roots of noir go back to German Expressionism, and there's no movie that's more German, Expressionist, or noir than Fritz Lang's masterful M (1931).
Jacques Tourneur's riveting 1947 film noir, usually ranked as one of the best of the genre
» 27
by Jans Wager
Fritz Lang brings the terrors of noir into the bright kitchens of America. Watch that coffee pot!
» 26
A review of Foster Hirsch's book on neo-noir
» 21
by Ray Davis
The only things not taken from Chinatown are a post-plastic-surgery makeup job from The Long Goodbye and that gag from "The Lucy Show" where Lucy meets Orson Welles but doesn't believe it's really him: "Why, these fake whiskers wouldn't fool a child!"

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@brightlightsfilm - stills, photos, and images from classic and contemporary films from around the world.


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