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Murder, My Sweet (released as Farewell, My Lovely in the United Kingdom) is a 1944 American film noir, directed by Edward Dmytryk and starring Dick Powell, Claire Trevor and Anne Shirley (in her final film before retirement). [4] The film is based on Raymond Chandler's 1940 novel Farewell, My Lovely.
Powell's career changed dramatically when he was cast in the first of a series of films noir, as private detective Philip Marlowe in Murder, My Sweet (1944), directed by Edward Dmytryk at RKO. The film was a big hit, and Powell had successfully reinvented himself as a dramatic actor.
Pitfall is a 1948 American film noir crime film directed by André de Toth. The film is based on the novel The Pitfall by Jay Dratler and stars Dick Powell, Lizabeth Scott, and Jane Wyatt, and features Raymond Burr.
Cornered is a 1945 American mystery thriller film noir starring Dick Powell and directed by Edward Dmytryk. [2] This is the second teaming of Powell and Dmytryk (after Murder, My Sweet). [3] The screenplay was written by John Paxton with uncredited help from Ben Hecht.
When first released Thomas M. Pyror of The New York Times gave the film a mixed review, and wrote, "To the Ends of the Earth, for all the journalistic austerity of its introductory sequences inside the narcotics division of the Treasury Department and at the United Nations council table in Lake Success, is predominantly a cops-and-robbers tale that relies too heavily on physical violence to ...
Split Second is a 1953 American film noir thriller directed by Dick Powell about escaped convicts and their hostages holed up in a ghost town, unaware of the grave danger they are in. It features Stephen McNally, Alexis Smith, Jan Sterling, and Keith Andes. [3]
Cry Danger is a 1951 film noir thriller film, starring Dick Powell and Rhonda Fleming. The film was directed by Robert Parrish , a former child star and later editor in his debut as a director. [ 2 ]
Dick Powell and Evelyn Keyes head the cast expertly, while the detective is played with considerable aplomb by that individual personality, Lee J. Cobb." [9] Richard Brody from The New Yorker noted "This terse and taut film noir is centered on the romantic and professional conflicts of the title character, the criminal mastermind (played by ...
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