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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.
Without Warning! is a 1952 American film noir crime film directed by Arnold Laven and starring Adam Williams, Meg Randall, and Ed Binns. The film is shot in a semidocumentary-style with police procedural voice-over narration in parts. Without Warning! was released commercially for the first time on DVD in 2005. Previously, the film was ...
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.
Brute Force (aka Zelle R 17) is a 1947 American crime film noir directed by Jules Dassin, from a screenplay by Richard Brooks with cinematography by William H. Daniels. It stars Burt Lancaster, Hume Cronyn, Charles Bickford and Yvonne De Carlo. [2] This was among several noir films made by Dassin during the postwar period.
Boomerang! is a 1947 American crime semidocumentary film noir based on the true story of a vagrant accused of murder. It stars Dana Andrews, Lee J. Cobb, Karl Malden, Arthur Kennedy and Jane Wyatt, with voiceovers by Reed Hadley.
The Street with No Name is a 1948 American film noir directed by William Keighley.A follow-up to The House on 92nd Street (1945), it tells the story of an undercover FBI agent, Gene Cordell (Mark Stevens), who infiltrates a deadly crime gang.
Detour is a 1945 American independent [2] [3] film noir directed by Edgar G. Ulmer, and starring Tom Neal and Ann Savage.The screenplay was adapted by Martin Goldsmith and an uncredited Martin Mooney from Goldsmith's 1939 novel of the same title, and released by the Producers Releasing Corporation, one of the so-called Poverty Row film studios in mid-20th-century Hollywood.
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 ...
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