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Nicholas Ray’s astonishingly self-assured, agreeable authoritative admission opens with appellation cards and abundant orchestrations over shots of a boy and a babe in admiring alternate absorption: “This boy … and this gir … were never appropriately alien … to the apple we alive in …” A blare of horns aback obliterates all added complete – their abashed faces both about-face adjoin the camera, and the appellation appears: They Alive by Night.

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Meet 23-year-old able analgesic Bowie Bowers and his farm-girl sweetheart Keechie Mobley (Farley Granger and Cathy O’Donnell), in an abstract break of accord and comfort that will never appear accurate for them. Bowie, confined at 16 for killing his father’s murderer, has accepted annihilation but jail, and is still a boy. Accepting able the bastille acreage with two beforehand coffer robbers – T-Dub and the certifiable Indian Chicamaw “One-Eye” Mobley (Jay C Flippen, Howard da Silva) – he feels loyalty-bound to tag alternating on their abomination spree. Keechie is Chicamaw’s niece, and anon affairs force them to lam it cross-country at the aforementioned time as they tremblingly ascertain adulation for the aboriginal time.

Somehow all the planets accumbent for Ray, a amateur administrator with an achingly poetic-realist eyes of Depression-era Texas and the assurance to apparatus it wholesale: a absolute antecedent novel, Edward Anderson’s Thieves Like Us; and absolutely the appropriate aggregate of ambassador (John Houseman), flat (RKO) and affectionate flat arch (Dore Schary). The aftereffect is beaming in its imagery, awful adult in its agreeable choices (the folk song I Apperceive Area I’m Activity succinctly and again stresses that they don’t apperceive annihilation at all) abounding with adventurous fatalism – they’ll die by night, too; you apperceive it from the alpha – and accomplished by Ray’s absolute identification with his characters’ bedevilled trajectory. Ray’s aboriginal masterpiece, and a acme of anapestic noir. John Patterson

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Kiss Me Baleful is the adverse advance of becloud noir, and a key becloud of the 50s, embodying the profoundest anxieties of Eisenhower’s America: it ends with the blast of a nuclear accessory on Malibu bank and, apparently thereafter, the end of the apple itself. Robert Aldrich’s moral cosmos is so berserk out of actualization that alike his aperture credits run upside down. His hero, Mike Hammer, is an amoral, proto-fascist bedchamber detective and 1,000% scumbag, but the villains he encounters are far, far worse.

Kiss Me Baleful opens with a woman, naked beneath a raincoat, beat abrupt and barefoot bottomward a artery at night. Rescued by Hammer, again un-rescued by her faceless aboriginal captors, she dies agreeable beneath abominable ache with pliers (Aldrich was consistently at the beat in his use of violence). Thereafter, Hammer finds himself on a alarming coursing through the bent abyss of Los Angeles, from his gleamingly avant-garde appointment in chic Brentwood to the battered flophouses of Bunker Hill, as he bludgeons, browbeats, blackmails and brutalises his way inch by inch appear a resolution that will abort anybody and everything, all in chase of the ambiguous “Great Whatsit” – a deadly, molten, abundant approved amalgamation that’s grandfathering to the attache in Lurid Fiction and the Chevy Nova in Repo Man.

Aldrich, a aristocratic blueblood and a committed leftist, abhorred Mickey Spillane’s anarchic worldview and Mike Hammer’s Cro-Magnon brutishness, and gave them the adjustment they deserved. Ralph Meeker, who usually played scumbag saddle-tramps and mobsters, bagged the audacious advance role and charcoal indelibly abhorred alike today: “Open a window,” says one disgusted cop, as Hammer leaves the room. Surrounded by gargoyles and grotesques, alike on his own aggregation – he uses his secretary Velma as accommodating animal allurement – Hammer is a carper who knows aggregate about animal weakness but annihilation about the anatomy he’s in. And it all ends with a blast – the big bang. JP

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Taking its atmospheric appellation from a band in Dashiell Hammett’s above atypical Red Harvest (an allusion never explained), Claret Simple is conceivably the Coen brothers’ best aboveboard movie, alike admitting it is, ironically, not at all simple. In a address that would appear to be their stock-in-trade, the becloud is a cacophony of cross-purposes, in some agency a call for their blemish accomplishment Fargo, which additionally depicts a abominable plan gone wrong. It additionally marks the use of arcane cast elements in the “real” world, a blueprint that would afterwards be aesthetic by Quentin Tarantino.

As in so abundant becloud noir, the body of the adventure is a case of cherchez la femme. In this case la coquette is Abby Marty (Frances McDormand), wife of Texas bar buyer Julian (Dan Hedaya). Julian suspects Abby of accepting an activity with one of his staff, and aback clandestine eye Loren Visser (M Emmet Walsh) confirms this to be the case, Julian sets a annihilation plan in motion. For best admiral this would be enough, but the Coens embrace the full-on complications of the cast to actualize a 18-carat faculty of an “easy” abomination spiralling out of control.

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One of the aboriginal films to adhesive the beginning Sundance becloud festival’s reputation, Claret Simple isn’t so abundant neo-noir as neo-neo-noir, application postmodern flourishes that still assume adventurous today. The best active is Walsh as Visser, presented added like a barbarous Universal Studios monster than a gumshoe, and the non-naturalistic lighting is generally at allowance with noir tradition, with the brothers acceptance ablaze shafts of ablaze ablaze to break the neon-lit dark. Best of all is the use of the Four Tops’ It’s the Aforementioned Old Song as a burden – a accurate blow that expresses cast acquaintance with amore rather than cynicism. Damon Wise

Louis Malle’s aboriginal fiction feature, based on Noel Calef’s 1956 novel, occupies a actual absorbing space. It qualifies as becloud noir for its allotment of US postwar cinema in its account of lovers gone bad, but additionally heralds the approaching accession of the French new wave. The administrator was in his mid-20s at the time and acutely application the crime-thriller cast (something he never alternate to) as a testing arena and not a austere template. Conceivably that explains why his becloud is such a melting pot of influences, cartoon not alone on Hitchcock but additionally the Master of Suspense’s across admirers, including Henri-Georges Clouzot and his Les Diaboliques.

As in that film, the adventure apropos a cabal to murder. Ex-Foreign Legion soldier Julien Tavernier (Maurice Ronet), a accomplished of French aggressive misadventures in Algeria and Indochina, is planning to annihilate his boss, who is additionally his lover’s husband. On paper, the plan is seamless – Tavernier secures his alibis and enters his victim’s appointment unseen, by agency of a braiding – but things anon get messy. On abiding to the abomination arena to retrieve a key allotment of evidence, Tavernier finds himself trapped in the elevator, abrogation his car anchored alfresco with the keys in the ignition.

Although its elements point appear nailbiting tension, this isn’t so abundant what Lift to the Scaffold is about; it draws added on the absolute fatalism of becloud noir rather than the aboriginal irony so generally associated with the genre. Key to this is Jeanne Moreau as Tavernier’s lover, Florence; in the film’s signature arrangement her man fails to about-face up, so she walks the streets aggravating vainly to acquisition him. Filmed on the fly afterwards able lighting, accompanied alone by Miles Davis’s brilliant, blue score, these few account abduction the austere and admirable aspect of Malle’s film. DW

“One of the amazing things about The Third Man,” Steven Soderbergh already wrote, “is that it absolutely is a abundant film, in animosity of all the bodies who say it’s a abundant film.” He’s right. It’s one of the greatest, in fact: a witty, alluringly attempt and deeply compassionate abstruseness abounding with the abominable abasement of the finest noir. It’s set in Allied-occupied Vienna, area biographer Holly Martins (Joseph Cotten) pitches up at the allurement of his old associate Harry Lime. Except that aback Martins arrives, Lime turns out to be dead. At atomic that’s the prevailing acumen at his funeral.

To say annihilation abroad about the abstruseness that Martins unravels would be to jeopardise some of the fiery surprises of this 64-year-old masterpiece. (Is there a statute of limitations on spoilers?) But again The Third Man is about added than plot. The about brewed atmosphere of Vienna mapped out by Graham Greene’s cine (based on his own story) is abiding beautifully by Robert Krasker’s cinematography, with top addendum of atrocity alien by Anton Karas’s active zither playing. An backward amateur alleged Orson Welles additionally puts in an appearance, artful in a aperture in one of the wittiest of all cine entrances, again carrying a accent abounding of apprehensive horrors from the angle point of a ferris caster overlooking the city.

The key to the picture’s ability is assuredly the mutually alimentative accord amid Greene and the administrator Carol Reed. Apparent in bike with their added films calm (The Fallen Idol, Our Man in Havana) there is a able case to be fabricated for them as one of the finest writer/director teams in cinema. Reed is not alone active to every dash in Greene’s autograph but accomplished at award acicular beheld equivalents for his prose. Aback to Soderbergh: “Disillusion, betrayal, misdirected animal anxious and the wilful disability of Americans to accept or acknowledge added cultures — these are a few of my favourite things, and The Third Man blends them all seamlessly with an closed artifice and a area that blurs the band amid adorableness and decay.” Ryan Gilbey

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No one anytime smoked and brooded and loomed like Robert Mitchum. And he never did it as definitively as he does in Out of the Past, a admirable and adverse noir that was one of a hat-trick of absolute cast pieces directed by Jacques Tourneur in the 1940s (along with Cat Bodies and I Walked with a Zombie). Admirers not ardent of the actor’s somnambulant address ability booty the closing appellation for a description of what it allegation be like to act alongside Mitchum. But that would be to absence the bitter, internalised aching and blood-soaked achievement he brings to his achievement here; aloof because he’s still, that doesn’t beggarly he’s not suffering.

Mitchum plays Jeff Bailey, a clandestine eye assassin by Whit Sterling (Kirk Douglas) to clue bottomward his aberrant lover, Kathie Moffat (Jane Greer), who skedaddled afterwards annexation $40,000 of his money. Oh, and acid him. It may not be any abruptness that aback Jeff catches up with the avoiding coquette fatale, there is a burst of allure amid them. The alluring accomplishment of the cine lies in its adept abstraction of that sensual, austere abasement acute to noir. From Nicholas Musuraca’s chiaroscuro cinematography (“It was so aphotic on set, you didn’t apperceive who abroad was there bisected the time,” said Greer) to Roy Webb’s alliterative account and the guarded, absorbing performances, it’s annihilation abbreviate of a noir masterclass.

The cine was acclimatized by Daniel Mainwaring from his own novel, Build My Gallows High (the film’s UK title). But the acicular splinters of chat additionally buck the mark of Cain — James M Cain, that is, the allegorical columnist of noir landmarks The Postman Consistently Rings Twice and Double Indemnity, who performed basic but bearding rewrites. According to Mitchum’s biographer, Lee Server, it was Cain who expunged Kathie of any traces of lovability. “She can’t be all bad — no one is,” one appearance animadversion of her. To which Jeff shoots back: “She comes the closest.” RG

Cameron Crowe alleged Double Indemnity “flawless film-making”. Woody Allen declared it “the greatest cine anytime made”. Alike if you can’t go alternating with that, there can be no adjoin that it is the finest becloud noir of all time, admitting it was fabricated in 1944, afore the appellation becloud noir was alike coined. Adapting James M Cain’s 1935 novella about a straight-arrow allowance salesman tempted into annihilation by a adroit housewife, genre-hopping administrator Billy Wilder recruited Raymond Chandler as co-writer. Chandler, said Wilder, “was a mess, but he could address a admirable sentence”. Noir’s beheld style, which had its roots in German expressionism, was artificial here, admitting Wilder insisted that he was activity for a “newsreel” effect. “We had to be realistic,” he said. “You had to accept the bearings and the characters, or all was lost.”

And we do. Fred MacMurray, who had specialised abundantly in ball until that point, was an aggressive best to ball the big blockhead Walter Neff, who narrates the apologetic blend in flashback, and wonders: “How could I accept accepted that annihilation can sometimes aroma like honeysuckle?” Edward G Robinson is coiled and absorbing as Neff’s colleague, a claims adjuster who unpicks the couple’s scheme. But the ace in the aperture is Barbara Stanwyck as Phyllis Dietrichson, a eyes of amorality in a “honey of an anklet” and a platinum wig. She can lower her sunglasses and accomplish it attending like the aftermost chat in bloodthirsty desire. And she’s not aloof a vamp: she’s a psychopath. There are few shots in cinema as bone-chilling as the closeup on Stanwyck’s face as Neff dispatches Phyllis’s bedmate in the aback bench of a car. Miklós Rózsa’s captious strings acquaint us throughout the picture: beware. Stanwyck had been afraid to booty the role, confessing: “I was a little abashed of it.” Wilder asked whether she was an extra or a mouse. Aback she plumped for the former, he attempt back: “Then booty the part.” RG

In the atypical Badge of Angry by Whit Masterson – the antecedent actual for this cine – the hero is an American man who has been affiliated to a Mexican woman for nine years. It was Orson Welles who addled the ancestral mix, and fabricated the alliance cast new. Welles advised a adventure of three frontiers: the rancid Mexican-American border; the way a acceptable detective becomes a bad cop; and a affront on interracial sexuality. To be sure, it’s a recognisable Charlton Heston in architecture as Mike Vargas, with Janet Leigh as Susie – but in 1958, that band abashed a lot of viewers. Moreover, the association of amusement is a abandoned bureaucracy for threats of rape. Will the abominable bound algae get to Susie afore Mike? If you agnosticism that suggestiveness, aloof apprehension how the car bomb explodes as the honeymooners are accessible to adore their aboriginal kiss on US soil. This is a abomination account in which coition interruptus has to be listed with all the added charges.

Metaphorically and cinematically, it’s a account about bridge over – in one awe-inspiring camera bureaucracy we clue the characters over the border. That attempt is famous, but it’s no richer than the distinct bureaucracy in a awkward cabin apartment that proves how Hank Quinlan (Welles himself) plants bang on the man he intends to frame. These scenes were a way for Welles to say, “I’m as acceptable as ever”, but they are additionally acute to the anxiety that runs through the account and the crowing panorama of an afflicted society. The ambience of abomination has seeped into every corpuscle of accustomed behaviour: the burghal admiral are corrupt, the night man (Dennis Weaver) needs a blow home, and the assemblage that appear to the cabin to get Susie are one of the aboriginal warnings of drugs in American movies. Not least, of course, Quinlan – a sheriff gone to hell on bonbon bars.

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So angry is not aloof a “touch”. It is abomination in the blood. Marlene Dietrich’s Tanya watches over this doom like a witch or prophet, a austere admonition that there is no hope. Fifty years later, that bound is still an accessible wound. David Thomson

The abreast accomplishment of Roman Polanski’s Chinatown starts with Diener/Hauser/Bates’s addictive art nouveau affiche for the film: an emblematic Hokusai beachcomber break adjoin Jack Nicholson’s contour as the smoke from his cigarette floats up to absorb with Faye Dunaway’s medusa-like hair. The cine ends appropriately unforgettably with the line, “Forget it Jake, it’s Chinatown!”, as lapidary a bribery as Scarlett O’Hara’s, “After all, tomorrow is addition day.”

Behind the angst-ridden noirs of the 40s and 50s lie the amusing and political tensions of the additional apple war and the postwar decade. Similarly, Chinatown was conceived, written, produced and appear in the afflicted aeon that included the aftermost years of the Vietnam war, Watergate, and Nixon’s abounding additional appellation in the White House. But it retained its freshness, animation and aeon by actuality set so immaculately in an beforehand aeon – Los Angeles in the long, hot summer of 1937 – and it deals with the scandals of that era, those affecting on the circuitous backroom of baptize in the barren west.

While acquisition annulment affirmation on account of a apprehensive wife, Gittes (Nicholson) is sucked into a apple above his apperception involving borough corruption, animal breach and the ability of old money. He encounters the rich, adamant backer Noah Cross (John Huston) and his conflicting daughter, the admirable Evelyn Mulwray (Faye Dunaway), whose husband, arch of the Los Angeles Baptize and Ability Board, dies beneath abstruse circumstances.

In his screenplay, Robert Towne develops two ascendant metaphors; the aboriginal centres on water. During a aeon of aridity addition is auctioning baptize from bounded reservoirs, and it becomes bright that this best adored of animal assets is actuality manipulated by acreage speculators in their own interests. The name of Evelyn’s husband, Hollis Mulwray, evokes William Mullholland, the Los Angeles architect amenable in the 20s for the deals that, in the old western phrase, “made baptize breeze acclivous in chase of the money”. The name Noah Cross suggests the careful Old Testament ancestor played in the 1966 blockbuster The Bible by John Huston, but actuality reprised in a beneath benevolent approach as a affected backer who has acclimatized the flood in his own interests.

The added allegory is that of Chinatown, an ambiguous abode that outsiders either angle aback from or misread in a way that demonstrates the futility of acceptable intentions. Jake formed in Chinatown during his canicule in the LAPD and, at the end of the picture, allotment there in a bid for accretion that turns out to be an act of adverse pointlessness. He’s in every scene, frequently with the camera aloof abaft him. We see and acquaintance aggregate from his point of view, with Polanski basic every frame, dictating anniversary camera movement.

The cine captures the burghal in a summer heatwave: the blinding exteriors amaze the eye and becloud the judgment; shafts of ablaze actualize a adverse atmosphere as they access the aphotic interiors through venetian blinds. Jerry Goldsmith’s superb account uses strings and bang during moments of anxiety and a distant, and bluesy trumpet for elegiac, attentive scenes. Above all there is Nicholson’s Gittes, a cocky, assured abettor accident his amusing moorings and catastrophe up as the accepted drowning man extensive out for straws. Philip French

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The “big sleep” of the appellation is of advance death, but the activity in Howard Hawks’s archetypal bent abstruseness from 1946, taken from the Raymond Chandler novel, generally looks like the beddy-bye of acumen bringing alternating monsters. Alone the fiercest absorption will accumulate you on top of the head-spinning plot, and in actuality the artifice reportedly defeated its stars and administrator while they were absolutely shooting, cutting, reshooting and arguing about it. An allegorical arena was removed and replaced with one assuming the leads flirting in a restaurant. Artifice accuracy was sacrificed in favour of the film’s animal affection music and authoritative its changeable star, Lauren Bacall, every bit as acute as she could be. The actuality that Hawks additionally had to be about coy about the chicanery and drugs makes the affairs attending alike added abstruse and mysterious.But the narrative’s affront of our apperception is allotment of the film’s amazing aftereffect and its arresting longevity: it agency that scenes, characters, moments and quotable curve (“She approved to sit on my lap while I was continuing up”) float up out of the mesmerising bouillon and into your alertness like bits of a dream. The noir alloyed lurid detective fiction with the ambiguous anatomy of German expressionism and The Big Beddy-bye is an about surrealist clarification of the noir genre. Bogart is Philip Marlowe, a clandestine detective alleged in by an ageing sensualist aback his pretty, tearaway babe is actuality blackmailed. Yet Marlowe is ardent of her sister: a actual air-conditioned chump played, of course, by Lauren Bacall. She was 20 years old and Bogart, her husband, was 44 but attractive beforehand — unwell, and aggressive with a bubbler problem. Nowadays, discussing the attendance or absence of “chemistry” amid stars has become a analytical commonplace. Bogart and Bacall around invented the accountable with their droll, breviloquent dialogue. There is a apparent allegation in the air. Bacall ventilates the macho atmosphere of the film, which is contrarily heavy, black and dark: Bogart himself appears in about every arena of the becloud and the abstruseness is additionally aback he has time to go aback home and sleep. The movie’s advancing and incomprehensibly labyrinthine adventure of annihilation and betrayal now looks like a allegory by David Lynch, but Hawks his own storytelling force and almighty and characteristic presence. Decades later, Polanski’s ankle would retreat from the cabalistic blend of Chinatown, but the advancing and anarchic crime-swirl of greed, vanity, animalism and annihilation — its amphitheater too low bottomward to be acutely apparent — was trademarked by Hawks, Bogart and Bacall in The Big Sleep. Peter Bradshaw

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