ROADBLOCK (1951): The Marrying Kind.
To get a femme fatale you gotta jump through hoops but if she turns ingenue, ease off.
STRIP, THE (1951): Andy Hardy Joins The Mob.
Great music but a darker performance from Rooney would've helped.
BEWARE, MY LOVELY (1952): Woman Trapped In Home By A Dissociative.
Story of a typical 50s housewife.
CLASH BY NIGHT (1952): Both Sides Now.
I've looked at noir from both sides now but my vote's for Monroe on the sawbuck.
KANSAS CITY CONFIDENTIAL (1952): Noir Mask.
Losing your identity is a prerequisite to committing a crime.
MACAO (1952): Garden Of Getting Even.
In this noir paradise, Russell is the beguiling Eve and Mitchum is the man (and feet) of clay.
TALK ABOUT A STRANGER (1952): Red Dog.
Moral: Don't blame the stranger without asking him to name names.
SPLIT SECOND (1953): No Exit.
Nine flawed characters in search of a deus ex machina.
NARROW MARGIN, THE (1952): Train Set.
Intriguing enough to be seen twice if only to appreciate Marie Windsor's nuanced performance.
HIS KIND OF WOMAN (1951): Worthy At Half The Price.
How movies can help you to act in real life. Brilliant suspense and comedy--two perfect double features in one.
LOCKET, THE (1946): The Luckless
Psychological study of the folly of a woman's materialism as a fulfillment of an unfortunate childhood mirrored in a narrative that unravels her mind like peeling an onion.
ANGEL FACE (1953): Cognitive Dissonance
The discordant chords as the car crash interrupts Diane's dreamy classical melody and foreshadows her own rude awakening from her dream state when she realizes what she's done.
ELEVATOR TO THE GALLOWS (1958): "There's room at the top they are telling you still..." (John Lennon)
You'll never be free climbing the corporate ladder unless you cover your tracks.