Restored noir ‘A Life at Stake’ sets viewers smack in the middle of the sleek, seamy, sweaty, paranoid underside of the American ’50s, and it’s a nice trip.
Compared to the two film versions of Native Son in more recent times, the 1951 version more acutely captures the race-driven existential dread at the heart of Richard Wright's masterwork.
Something portentous comes out of quiet ordinary postwar English life: three schizoid noirs from directors Carol Reed, Roy and John Boulting, and Tharold Dickinson.
Although it's fair to state that Jerry Hopper is no Douglas Sirk, it's also true that their careers tangoed around each other, as seen in Hopper's Naked Alibi.
Thanks to Richard Fleischer's Trapped, Lloyd Bridges got the chance to shine in a starring role as unregenerate slimeball Tris Stewart, among the most amoral self-centered leads in noir.
Hitchcock's motif of treacherous toying with filmgoers is intriguing to spot in his early silent-to-talkie thrillers, Blackmail and Murder!
Rivette’s ‘Paris nous appartient’ Nods to McCarthyism, Communist Witch Hunts, and Cold War Paranoia in the USA
Jacques Rivette's first French New Wave film, Paris nous appartient, is infused with the look and feel of Hollywood's more paranoid, conspiratorial and apocalyptic films noir.
This professional seen-it-all flatfoot believes he can orchestrate his way out of situations where a thousand fools have floundered.