The film noir genre still has plenty of fans all these decades later, but there’s no replacement for watching the true classics for the first time. For anyone looking to get into film noir, there are certain movies that should be seen essential, whether they’re detective stories, social satires or something else entirely.
Thebest films noirhave proven their staying power throughout the decades, and they still influence neo-noir and other crime movies in some ways today. For fans of the genre, there’s nothing better than discovering another true classic for the first time, because there’s only a finite amount.
Humphrey Bogart and Lauren Bacallmade four films together, which are all worth watching for fans of the film noir genre. By the time they madeThe Big Sleep,they were already the most talked-about couple in Hollywood, and Warner Bros changed the script to give them more time together on screen.
Warner Bros changed the script to give Bogart and Bacall more time together on screen.
The Big Sleepis notoriously hard to follow, and it leaves some puzzling questions about the plot even after the credits roll. However, this knotty mystery is wrapped inone of the most stylish shaggy dog stories ever filmed, crackling with exquisite dialogue and bolstered by a great cast.
Charles Laughton was primarily known as an actor, both on stage and on screen.The Night of the Hunterwas the one feature-length film he got to direct, and it stands out as something completely unique. If it had been a financial success, it’s possible that Laughton would have had a long and distinguished career as a director, butThe Night of the Hunterinstead represents the beginning of what might have been.
For all Laughton’s striking chiaroscuro compositions,The Night of the Hunteris also worth watching for Robert Mitchum’s incredible performanceas a slimy, soulless serial killer. Mitchum provides a malevolent presence throughout a dark crime story. He’s immediately captivating, and it’s enough to make the audience wonder whyThe Night of the Hunterdoesn’t get the attention it deserves.
Although film noir is mostly associated with crime, some of the genre’s classics are more straightforward dramas.Sweet Smell of Successpeers into the murky world of New York City’s print media landscape, as a press agent and a powerful columnist conspire to break up a relationship.
There are no heroes inSweet Smell of Success,just two immoral characters who work together when it’s convenient for them to do so, and go to war when they get in each other’s way. Tony Curtis and Burt Lancaster both deliver great performances.Curtis in particular highlights the wry humor that punctuates the dialogue.
Many ofAlfred Hitchcock’s best moviesfall into the film noir genre, likeStrangers on a Train, Rebecca, Spellboundand more.Shadow of a Doubtshould be in the conversation for the director’s greatest contribution to the genre, thanks partly to an unforgettable villain performance by Joseph Cotten.
Alfred Hitchcock citedShadow of a Doubtas his personal favorite from his filmography, so it’s worth paying close attention to. The story hints at the dark underbelly of the dream of a happy family, suggesting that true evil can come from anywhere, often close to home.
Diabolique- orLes Diaboliquesas it is sometimes known - has the look and feel of an Alfred Hitchcock film, but Henri-Georges Clouzot optioned the screenplay to ensure that Hitchcock never got his hands on it. The result is an unforgettable noir thriller with plenty of horror elements.
Film noir is sometimes thought of as a mostly American genre, so it’s interesting to see a few international classics which have made an impact.Diaboliquedeserves its place alongside the greats, with an intoxicating blend of horror and crime, as a man’s wife and mistress conspire to murder him.
Laurastarts with a detective investigating the death of Laura Hunt, but, of course, all is not what it seems. Otto Preminger’s delightfully sleazy high society drama unfolds like a taut whodunnit, but there are a few twists which change the entire complexion of the story.
There’s a satirical, acerbic dimension toLaura’s vision of high society. Even in the midst of a murder investigation, people have time to trade barbs and fight over status symbols. This adds another layer toLaura’s entertainment value, but it also contributes to the depressing tragedy of innocent people being caught in the crossfire of petty, small-minded villains.
The Killingisn’t often considered one ofStanley Kubrick’s best movies, but it shows off the director’s impressive mastery of different genres once again.Along with movies likeAsphalt JungleandRififi, The Killinghelped shape the heist genre, and its influence can still be seen today.
The Killingbarrels along at an infectious pace, even though its non-linear structure weaves in and out in the build-up to the heist. Kubrick creates a muddle of cause and effect, piling on top of one another until it’s hard to keep track of each character’s crimes and culpability. Once it gets to the heist, however, the story straightens out and becomes laser-focused.
If someone wants to gain an understanding of film noir for the first time,Double Indemnityis the perfect place to start. It captures so much of what makes the genre what it is, and it set the standard for film noir for many years. Barbara Stanwyck’s cunning femme fatale helped create a whole archetype.
Phyllis Dietrichson seduces a suave insurance salesman into murdering her husband. He thinks that he’s in control the whole time, only to realize that he’s trapped in the web that she has spun for him.Double Indemnitydraws the audience in too, butan intelligent script by Billy Wilder and Raymond Chandler stays one step ahead.
Billy Wilder was one of the great masters of film noir.Six years afterDouble Indemnity,he continued to drive the genre forward withSunset Boulevard,a tale of desperation and despair set against a backdrop of Hollywood glamour. Gloria Swanson stars as an aging movie star trying to return to her glory years.
Sunset Boulevardproves that film noir can often be funny. Wilder had a knack for comedic dialogue, and there’s a lot of dark humor throughout his tale of Hollywood depravity. This humor doesn’t make the film any less impactful when it needs to be.Sunset Boulevard’s unforgettable endingcements its place as a classic.
Film noir categorizes many ofOrson Welles' best movies, includingTouch of EvilandThe Lady From Shanghai.The Third Manis arguably more influential and compelling than any other, although Welles only acts in it, rather than directing and writing too.
The action is expertly tempered by the dynamic between the characters.
Even before Welles appears on-screen, his impish grin illuminated beneath a doorway, his presence looms large overThe Third Man.His introduction shakes up a beguiling mystery, and the narrative soon shifts gears to become a battle of wills between two men with opposing philosophies.It’s a thriller with rare power, because the action is expertly tempered by the dynamic between the characters.
