CORNERED (RKO): Shadow Boxing.
Garard (Dick Powell) chase the Nazi who killed his wife to Argentina (a Nazi refuge). Jarnac's face is obscured by shadow to emphasize how other anti-fascist will be waiting in anonymity to fight American imperialism.
CRACK-UP (RKO): Narcosynthetic Narcosynthetic Train Wreck.
Noir staples of exploring madness via flashback and the subjectiveness of art.
GILDA (Columbia): Thin (Curvy) Line Between Love and Hate.
Gilda's and Farrell's infedelity lead to their benefactor's apparent death. A spurned Gilda plays the femme fatale but no amount of low-key lighting can keep Hayworth from lighting up the screen.
THE BIG SLEEP (WB): Smartest man in the theater.
Great Bogie-Bacall chemistry. In Faulkner fashion, it's hard to follow the first time through. Seven deaths: some insoluble but others show various ways of facing it.
THE KILLERS (Universal): Feline Fatale
The Swede blames himself for letting himself be setup by Kitty, a femme fatale, and is willing to face the ultimate music.
She urges her husband to sacrifice his soul for her by swearing on her innocence. Played round-the-clock when movies were made to be seen more than once.
NOBODY LIVES FOREVER (WB): Boy Cons Girl Story..
Fitzgerald is the femme fatale not because she's bad but because she's so innocent that Garfield can't play her for a mark.
NOCTURNE (RKO): Shoot the Piano Player.
Propaganda advocating police abuse and sharing cases with your mother. No one could accuse George Raft of over-acting.
CROSSFIRE (RKO): Anatomy of a hate crime.
A nuanced study of anti-Semetism that raises the question of how much better we are than the enemies we defeated in WW2.
HOLLOW TRIUMPH or THE SCAR (Eagle-Lion): Distinguishing Feature.
Muller/Bartok is scarred but noone notices that he's changed and his killers didn't know where his scar was. But even Muller didn't remember which side Bartok's scar was on after following and photographing him.
MYSTERY STREET (MGM-Alton): Bones.
Forensic crime procedural. Compelling Mann-Alton project.
BORDER INCIDENT (MGM-Alton): A must watch (for Donald Trump).
Every frame of John Alton puts Ansel Adams (and Donald Trump) to shame.
PEOPLE AGAINST O'HARA (MGM-Alton): Wheels of justice.
Well-paced criminal court case with an alcoholic lawyer.
GET CARTER (MGM): What's it all about, avenging?
A gritty, viscerally and visually pleasing, color neo-noir Using architecture and stairways instead of black and white shadows to frame subjects and create striking diagonals.