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Watching Film Noir on Your Cell Phone - Film Noir

http://www.classicfilmnoir.com/2014/11/watching-film-noir-on-your-cell-phone.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Watching Film Noir on Your Cell Phone. Few of us dashing young things of the Twenty First Century have seen a film noir. On the big screen. For that to happen you need to live in a massive urban area, like Paris, San Francisco, or London, or be fortunate enough to have a local club or festival that celebrates the virtue of such public viewing as the large screen enjoys. Early cinema was often shown in...

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Dark Waters (1944) - Film Noir

http://www.classicfilmnoir.com/2014/11/dark-waters-1944.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Directed by André De Toth, 1944) doesn't follow the obvious conventions we associate with the film noir style, such as the long shadows, the urban setting, the tough guy talk, the femme fatale and the cruelty of fate. Also tips it hat to Freudian therapy, but that should be obvious from the title. It follows patterns largely established in the hit film Rebecca. Merle Oberon - paranoid with good cause.

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New York Confidential (1955) - Film Noir

http://www.classicfilmnoir.com/2014/12/new-york-confidential-1955.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. New York Confidential (1955). Frank Castello appearing before t he Kefauver Committee. In the wake of the televised Kefauver hearings. Which revealed the extent of organised crime in the USA to a fascinated public, Broderick Crawford stepped up to camera to play a leading member of a syndicate, in its Manhattan headquarters, in the movie New York Confidential. 1952) and The Turning Point. Is an early ...

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Where Does Poetic Realism Fit in to Film Noir? - Film Noir

http://www.classicfilmnoir.com/2014/12/poetic-realism-and-film-noir.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Where Does Poetic Realism Fit in to Film Noir? If we are going to get anywhere with this film noir thing, we have to understand Poetic Realism. For once, let's not got to WIKIPEDIA. Instead, I'll try and call this one in pictures of Jean Gabin. C'EST QUOI CE POETIC REALISM? It's hard to define this topic of Poetic Realism. Jean Gabin in Le Belle Equippe (1936). Jean Gabin in Pepe le Moko (1937). Where...

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Color Film Noirs - Film Noir

http://www.classicfilmnoir.com/2014/12/color-film-noirs.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Niagara is a full color film noir. There is no rule of criticism which states that a film noir. Has to be in color. The fact that most film noirs are in black and white is probably down to their budget, and the times in which they were made. We all agree today that film noir is properly associated with black and white, but since nobody was saying: "Hey let's make a film noir! Leave Her to Heaven (1945).

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San Francisco in The Maltese Falcon (1941) - Film Noir

http://www.classicfilmnoir.com/2014/11/san-francisco-in-maltese-falcon-1941.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. San Francisco in The Maltese Falcon (1941). The Maltese Falcon (1941). San Francisco is something of an idée fixe in John Huston's The Maltese Falcon (1941). In fact the first words on the screen when the film begins are the words SAN FRANCISCO which precede the film's action. It goes a bit deeper than that though! To wit, I cite:. Humphrey Bogart and Elijah Cooke Jnr in The Maltese Falcon. Informatio...

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The House on Telegraph Hill (1951) - Film Noir

http://www.classicfilmnoir.com/2014/11/the-house-on-telegraph-hill-1951.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. The House on Telegraph Hill (1951). She's a paranoid woman but she's not alone. They are all over film noir, and not just in The House on Telegraph Hill (1951). She's got plenty company, including the heroines of Rebecca. 1944), Experiment Perilous. 1944), Dark Waters. 1944), The Secret Beyond the Door (1947), Sleep My Love (1948) and Caught (1948). Paranoid Woman Film Noirs. 1944) and the gothic weir...

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Tropes Vs Women in Film Noir - Film Noir

http://www.classicfilmnoir.com/2016/03/the-four-types-of-woman-in-film-noir.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Tropes Vs Women in Film Noir. Who is she going to be today? Sylvia Harvey in the book Woman's Place: The Absent Family of Film Noir. In an essay titled Women in Film Noir. States that women in noir tend to conform to two types: 'the exciting childless whores, or the potentially childbearing sweethearts.'. And the Paranoid Woman. While viewers treat of the femme fatale. Ann Savage in DETOUR (1945).

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Humphrey Bogart and Lauren Bacall at HUAC - Film Noir

http://www.classicfilmnoir.com/2014/11/humphrey-bogart-and-lauren-bacall-huac.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. Humphrey Bogart and Lauren Bacall at HUAC. Danny Kaye, Humphrey Bogart, Lauren Bacall protest at the HUAC Hearings. Some notes on Humphrey Bogart and Lauren Bacall and their 1947 trip to Washington to present their case to HUAC, on behalf of the Committee for the First Amendment. A bitter young blogger, intent on bringing to light the connections between film noir. Bogart on the cover! But we are here...

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The Man Who Cheated Himself (1950) - Film Noir

http://www.classicfilmnoir.com/2014/11/the-man-who-cheated-himself-1950.html

Classic Film noir exposes the myths by which we fulfil our desires — sex — murder — and the family unit. The Man Who Cheated Himself (1950). Jane Wyatt and Lee J. Cobb. The Man Who Cheated Himself, 1950 film noir and available free from archive.org - directed by Felix E. Feist and starring Lee. J. Cobb, Jane Wyatt and John Dall. One or two of these many free film noirs are iffy to say the least but most are respectable, and of that respectable many, just about all of them have a high curiosity factor.