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Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial. To minimize dispute the films included here should preferably feature a footnote linking to a reliable, published source which states that the mentioned film is considered to be a film noir by an expert in this field, e.g.
A Turner Classic Movies expert shares his top picks.
All Night Long (also known as Night People) is a 1962 British neo noir drama film directed by Basil Dearden and starring Patrick McGoohan, Keith Michell, Betsy Blair, Paul Harris, Marti Stevens, and Richard Attenborough. [1]
Payroll is a 1961 British neo-noir crime thriller film directed by Sidney Hayers and starring Michael Craig, Françoise Prévost, and Billie Whitelaw. [1] The screenplay by George Baxt was adapted from Derek Bickerton's 1959 novel of the same name. The film revolves around a group of criminals who plan and execute a wages robbery, which ...
Film noir (/ n w ɑːr /; French: [film nwaʁ]) is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir.
Underworld U.S.A. (also known as Underworld USA) is a 1961 American neo-noir [2] crime film produced, written, and directed by Samuel Fuller. It tells the story of a 14-year-old boy who goes to enormous lengths to get revenge against the mobsters who beat his father to death. It stars Cliff Robertson, Dolores Dorn, and Beatrice Kay. [3]
Something Wild is a 1961 American neo noir [3] psychological thriller film directed by Jack Garfein, [4] [5] and starring his then wife Carroll Baker, Ralph Meeker, and Mildred Dunnock. [6] It follows a young New York City college student who, after being brutally raped, is taken in and held captive by a mechanic who witnessed her suicide ...
The film was praised by The New York Times as a "genuine rediscovery." Times film critic Glenn Kenny called the film "a fascinating mélange of cinematic semiotics." and that this "tense and upsetting film has more psychological depth and empathy than the comparable sensationalist fare of its time, and shudder-inducing cinematic style to spare."
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