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Film Noir

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The Third Man   A Few Days in September (Quelques jours en septembre)   Detour & Too Late for Tears
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Orson Wells stars as Harry Lime and Joseph Cotten plays his childhood friend, Holly Martins, in this all-time classic thriller scripted by Graham Greene and directed by Carol Reed. Martins search for Lime through the seedy underworld of postwar Vienna and  more...   Ten days before 9/11... Irene (Juliette Binoche), a French secret service operative, is on a mission to help Elliot (Nick Nolte), a rogue CIA agent who has disappeared with top secret intelligence about the immediate future of the world. When a Paris  more...   Al Roberts' life takes an unexpected and unpleasant turn when he decides to hitchhike to the West Coast in pursuit of his girlfriend Sue. When the driver who gave him a ride turns up dead, Al decides that the police wouldn't believe him innocent and decid  more...
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Vince Grayson (DeForest Kelley) is a young bank teller who awakens from a terrible nightmare, in which he and an unknown woman murder a man in a mirrored room. At first thinking it was just a dream, Grayson discovers he has bruises and other physical  more...   Newsman Kent Murdock (Lew Ayres) has a reputation for scooping his competition. Meg Archer (Gail Patrick) is a feisty young woman out to seek justice for those who wronged her father. When an expensive criminal attorney dies on the job, a newspaper photog  more...   Franchot Tone plays Assistant District Attorney Howard Malloy, a man with a mission to avenge the brutal slaying of his friend, who discovered that a group of supposed patriots were really members of a fascist hate group. Now he's determined to expose the  more...
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A city is gripped with terror as a string of horrifying murders have occurred and the authorities are desperate to bring the killings to an end. At a boarding house run by a kind family resides a reclusive young man, who the daughter of the boarding house  more...        
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About Film Noir

In the 1970s, notable films like CHINATOWN, THE CONVERSATION and TAXI DRIVER awakened attention to an unusually intriguing style in American Cinema, a style that comprises some of our most exciting, most intrinsically "cinemati" movies. Yet it is style that at the same time is one of the hardest to label or pin down. It defies the easy characterization of the Western, the Whodunit, the Musical or the Comedy. It is called "Film Noir."

In 1946, after American films had been absent from European screens for five years, astute French critics of the "Cahiers di Cinema," noticed a discernible new style in American movies, one which had roots in the early Depression. They coined the term "film noir," the black film, to denote these murky dramas framed in the intrigue of neon lights glistening on dark, wet streets. It is a world of strong women and forceful men, of adventurers and opportunists, of independent moralists and amoralists, of public and private eyes, of middle-class dropouts and misunderstood mobsters, of good and evil, and more evil. It might be called the dramatic equivalent of black comedy.

This is the cinema of people tough enough to handle a society readjusting after war and social trauma. It is the cinema of directors like Fritz Lang, Orson Welles, Alfred Hitchcock, Mick ray, Elia Kazan, Sam Fuller, Joseph Lewis and John Huston. The heroes, heroines and villains are legendary screen presences like Edward G. Robinson, Humphrey Bogart, Joan Crawford, Barbara Stanwyck, Orson Welles, Burt Lancaster, Robert Mitchum and John Garfield. To list the names themselves almost defines the genre.

Film noir is defined, not by the story itself, but by the look and psychological tone, making it an unusually visceral, almost palpable kind of film. Since most of these films were made as "B-Movies" designed to fill out the bottom half of double features, the studios gave their directors the freedom that can give way to startling creative moments. And that's precisely what happened.

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