Showing posts with label 1944. Show all posts
Showing posts with label 1944. Show all posts
Sunday, August 17, 2014
The Movies of 1944: WHEN STRANGERS MARRY
The final installment in my series on the landmark noirs of 1944 looks at William Castle's WHEN STRANGERS MARRY. You can read that now over at Criminal Element.
Tuesday, August 12, 2014
The Movies Of 1944: THE WOMAN IN THE WINDOW
Check out my new piece on Fritz Lang's THE WOMAN IN THE WINDOW over at Criminal Element, the latest addition to my series on the key noir films of 1944.
Wednesday, August 6, 2014
The Movies Of 1944: PHANTOM LADY
PHANTOM LADY is probably the least well-known of the landmark noirs released in 1944, but in some ways it's the most important because it initiated the full-on noir phase of director Robert Siodmak's career. You can read about this great film in my new essay over at Criminal Element.
Tuesday, August 5, 2014
The Movies of 1944: MURDER, MY SWEET
Check out my new piece on MURDER, MY SWEET over at Criminal Element, the latest addition to my series on the key noir films of 1944.
Saturday, July 26, 2014
The Movies of 1944: LAURA
Check out my new piece on LAURA over at Criminal Element, the latest in my series on the key film noirs of 1944.
Wednesday, July 23, 2014
The Movies Of 1944: DOUBLE INDEMNITY
This year film noir turns 70. While there had
been some intermittent films leading up to the birth of the classic noir, in 1944
the dahlia bloomed with six key films: DOUBLE INDEMINTY, LAURA, MURDER MY SWEET,
PHANTOM LADY, WHEN STRANGERS MARRY, and THE WOMAN IN THE WINDOW. In these films
you have many of the key figures in noir making some of their first forays into
the genre (directors Billy Wilder, Otto Preminger, Fritz Lang, and Robert
Siodmak; writers Raymond Chandler, Cornell Woolrich, Vera Caspary, Phillip
Yordan; actors Robert Mitchum, Barbara Stanwyck, Joan Bennett, Dana Andrews—just
to name a few). This onslaught of darkness came in the wake of the bleakest
days (from the American perspective, anyway) of WWII. The basis of many of
these films were older properties but it is the way these films came out—physically
darker, psychologically denser, and ultimately more pessimistic—that marks the
real birth of film noir. Over at Criminal Element I'm kicking off a new series which will explore
these six landmark films.
First up DOUBLE INDEMNITY.
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