Touch of Evil

Orson Welles, 1958, bw (8.3*)

Whether you love Welles or not, you have to admit that this is one unique and bizarre crime film. True to classic noir, this one also has its seminal scenes at night, in fact most of the action is in the dark, like the souls of many in this film. It's a dark and almost dreary film, but that's true of much of classic noir.

Charlton Heston is Mike Vargas, a Mexican narcotics officer, whose honeymoon to Janet Leigh is interrupted by a murder in a border town that happens after someone places a bomb in the trunk of a car on the Mexican side of the border that then drives back across, while on the same street. Vargas is soon dealing with the police chief on the U.S. side, a long-time corrupted Hank Quinlan, to whom his law is 'the law', played with cynical gusto by Orson Welles. Quinlan is all too ready to convict an innocent Mexican-American, but Vargas begins probing into his checkered past.

Meanwhile his wife Susie (Leigh) is not only out of danger at a seedy motel, but right in the middle; this part is inexplicably broken up by a sudden comic appearance by Dennis Weaver as the dumbfounded but pruriently interested hotel clerk, in one of the more bizarre performances in cinema history.

This examines racism along the Mexican border as well as police corruption, and does it in classic film noir dark palette and lighting, with hardly a character you'd want to know personally, even Heston's, for he wouldn't last long in the real world by diving into the fire. More than a clash of individual personalities and ethics, it becomes an inter-racial and cross-cultural statement on mutual cooperation and understanding.

Those interested in Welles should by all means see Citizen Kane and The Magnificent Ambersons. Touch of Evil is No. 125 on the IMDB 250, and is No. 30 on our compendium of all film polls - so it's obviously ranked much higher by critics than the public.

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Stray Dog

Akira Kurosawa, Japan, 1949, bw (9.0*)
One of famed director Akira Kurosawa's earliest films, about a rookie detective, played by Toshiro Mifune in one of his first starring roles, who has his gun stolen on a crowded bus. He then searches for his revolver relentlessly after it is used in the commission of a crime, as he then feels personally responsible for any victims of whoever is using his weapon. At the same time, he faces the dirision and ridicule of fellow detectives for having lost his gun to thieves on the street.

Beautifully shot in post-war Tokyo, much of in the dangerous black market streets and alleys. In fact, an assistant director stood in for Tishiro Mifune in some of the scenes shot in dangerous locales where guns were sold and criminals rule. Rarely shooting scenes straight on, most are shot from odd angles as if the viewer is spying, like crime witnesses, on the action from behind walls, doors, from earth level (sometimes you only see the feet of the detective), through windows, or rooftops. Kurosawa has put his own stamp on a tense thriller in the style of American film noir, and he actually caused a wave of Japanese police films following the success of this film.

A must-see classic for fans of Kurosawa and Japanese cinema; from the Criterion Collection. It may be argued that his early black-and-white period, which includes his masterpiece The Seven Samurai, was his most successful creatively - it's certainly my favorite era of his.

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Atlantic City

Louis Malle, 1980 (8.8*)
My favorite film from French director Louis Malle, this one is a crime story in English. Burt Lancaster turns in one of his best performances as a flunkie to an aging actress retired in Atlantic City. His passions are flamed by neighbor Susan Sarandon, a casino worker with little more than dreams to keep her going, and who bathes her bare breasts with lemons in front of the window.

Suddenly their lives are turned upside down by an ex of Sarandon's, who shows up after pulling a drug heist. This is a gritty, realistic look at romance on the seedier side, with people barely surviving on the borderlines, yet who have the same universal dreams as anyone else. Nominated for five academy awards.

Quote: You should've seen the Atlantic back then - it was really something. (Burt Lancaster)

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Leave Her To Heaven

John M. Stahl, 1945 (8.6*)
Exotic locations, the impeccable beauty of Gene Tierney, and the Oscar®-winning cinematography of Leon Shamroy (one of his four Oscars®) make this one of the most beautiful films to view in color. The film begins on a train in New Mexico, where an author, played by Cornel Wilde in an understated performance, meets a gorgeous young woman, Tierney, who's reading his latest novel.

The two fall in love amid the beautiful scenery of Rancho Jacinto in the mountains near Taos, New Mexico, with Tierney dropping her present fiance, a rising young lawyer well-played by Vincent Price, and proposing to Wilde after just a couple of days of dazzling him with her beauty. In one unforgettable scene, he witnesses her scattering her fathers ashes on horseback high up on a mountain plateau at dawn with her mother and cousin.

The marriage shifts to Warm Springs, Ga (where I work, about a mile from the location in the film!) to Wildes' polio stricken young brother David, played by Darryl Hickman of Dobie Gillis on tv fame. They then all move to Deer Lake, Maine, to Wilde's hidden fishing lodge, so the newlyweds really get little intimacy. Tierney's character grows increasingly possessive of her husband, even becoming jealous of her cousin, and half-sister, on her infrequent visits, played by Jeanne Crain, who holds her own vs. Tierney's onscreen beauty - the two actually resemble relatives.

This is really basic film noir, even if wrapped in a colorfully trimmed package. We watch major characters deteriorate as they turn lemonade into lemons, and are eventually shocked by unexpected events of mental cruelty. This was one of Shamroy's four Oscars®, and the impeccable art direction also received an Oscar® nomination, as did Tierney, who received the only Oscar® nomination of her career, losing to Joan Crawford. A must-see for fans of 40's glamour and film noir classics, from a novel by Ben Ames Williams.

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Gun Crazy

aka Deadly Is the Female
Joseph H. Lewis, 1949, bw (7.6*)
This is a classic film noir about two marksmen who connect at a circus, where the alluring Peggy Cummins has an Annie Oakley style performance nightly. After the pair get together, the John Dall character wants to go straight, but Miss Starr has a yen for the fast life and spending more money than they have. The only solution is to become armed robbers, so the two go on a Bonnie and Clyde style crime spree. Often innovative directing by Lewis, there's a terrific atmospheric sequence in a fog-filled swamp, as the two are inevitably hunted by law enforcement en masse. Screenplay was really by blacklisted Dalton Trumbo. Even though the Dall character started with guns as a kid, he did not "shoot his eye out", lol..

#583 on our Top Ranked 1000 Films on the Internet compendium

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Elevator to the Gallows

Louis Malle, 1958, France, bw (8.2*)
This was 24-yr old Louis Malle's first film after being an assistant to Jacques Cousteau. It pays perfect homage to America's best film noir, as it begins with a rather boneheaded criminal, Maurice Ronet, who carries out a well-planned 'perfect murder' of the spouse of his adulterous lover, wonderfully played by a harried yet sensual Jeanne Moreau. All goes according to plan except for one minor detail, and from then on the plot spirals into a night of anguish for all involved, which grows to even more drastic actions as the night progresses, involving more criminals and victims.

The entire film is perfectly scored by the eloquent 50's jazz of Miles Davis, which is just right for the look and ambiance of a jazz-era Paris of the night. Even though the plot may stretch a bit, the acting and journalistic look make this a timeless window into a certain era which had the classy elegance we all miss. Certainly a noir classic, and an auspicious beginning to Malle's brilliant career, which included Au Revoir, Les Enfants and Atlantic City. I prefer this to the other French noir classics I've recently seen, it seems to have more plot twists and a humorous wit that most others lack. This should be ranked on the internet survey, I can't believe it's not on some of the lists.

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Le Samourai

aka The Godson (US)
Jean-Pierre Melville, 1967, France (8.0*)
This is a very stylish film noir (in color) from French master director Jean-Pierre Melville, about a modern 'samourai', a hit man for hire, used by gangsters in Paris. Glamour boy Alain Delon fits this part perfectly, playing trench-coated Jef Costello with his cold blue-eyed stare and seeming indifference to everything, beautiful women as well as killing. This is all done very quietly, with meticulous care, thankfully with no symphonic or rock music score for distraction, just some occasional tasteful jazz, played live at a nightclub.

The film is almost as much a police procedural, with Francois Perier perfectly cast as the police superintendant investigating the murder committed by Costello near the film's beginning. Delon's wife Nathalie becomes his gorgeous alibi, and Cathy Rosier is the jazz singer at the club where the contract is completed. Even the art direction is perfect, notice how each apartment is furnished perfectly for each of the characters, from tasteful elegance to bare essentials only. After Army of Shadows, #291 on our survey, the highest rated of Melville's films at #358; both scored 8.1 at IMDB, as did his Le Circle Rouge.

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Night of the Hunter

Charles Laughton, 1955, bw (9.0*)
This is one of the creepiest, most blood-curdling films ever made, and the best from actor Robert Mitchum. Oscar-winning actor Charles Laughton directed his one and only film and it's a film noir masterpiece. Mitchum plays a convict who finds out about a woman alone with her kids who may have money stashed from another criminal's robbery. When Mitchum gets out of prison, he poses as the most evil preacher in history, with 'love' and 'hate' tatooed on his hands, one letter per finger, and he tells the kids they go hand in hand.

Robert Mitchum actually seems semi-passionate about something in a film for once - money in this case. A young Shelly Winters plays the mother, and Mitchum stops at nothing to terrorize her (and Lilian Gish later) and the kids just to get the money, especially the kids (this is not for the squeamish!) This is full of eerie and unforgettable shots: a victim gently floating underwater in the current, an interior lit like to appear like a church (see above), and some dreamy yet nightmarish images of shadows creeping in the night. The only negative here is that Laughton didn't make any more films as director! One of the best black-and-white films made as well, nearly every shot is a work of art.

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Sin City

Dir: Frank Miller, Robert Rodriguez, 2005 (8.1*)

This is how graphic novels should look! Incredible gothic, dark look to this film, using special effects, that overall makes it look almost an animated graphic novel. This is how the original Batman and Dick Tracy films should have looked. Rodriguez brought in the artist of the original, Frank Miller, to oversee the art direction, the result is stunning. The film is a trio of bizarre tales, the main one involving Bruce Willis, who once saved a child, now Jessica Alba all grown up into yummy eye candy. Elijah Wood goes WAY out of character as a speedy, silent killer. Benicio del Toro is a cop, who spends most of his screen time literally as a talking head (a scene directed by Quentin Tarentino for $1). A bevy of beauties led by Roxanne Dawson play hookers who control the inner city without police interference. Film noir with a graphic/comic look (up a * for the look alone), very updated and very violent, not for the squeamish. This is not like any other film in its look, something truly unique.

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L.A. Confidential

Dir: Curtis Hanson, 1997 (8.4*)

Director and screenwriter Curtis Hanson has updated the film noir genre to the new millenium while remaining faithful to the period. In one scene, detective Nick Nolte beats a suspect into confession, as this was an era when criminals had no rights yet, and police pretty much had free rein.

The main story involves a police investigation into a mass murder in a restaurant, investigated by Kevin Spacey, Russell Crowe and resented newcomer Guy Pearce, among others, who also uncovers a deep plot with lots of characters involved. Kim Basinger won an Oscar for supporting actress as a "Hollywood Hooker", without apparently a lot of acting involved, but she did look like 40’s screen siren Veronica Lake, which was her claim-to-fame as a working girl.

This may be a bit complex or slow for some, but the look and feel are straight from classic film noir but with rich, dark colors. Nine nominations, 2 Oscars (Supp. Actress, Screenplay)

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Body Heat

Dir: Lawrence Kasdan, 1981 (8.5*)
Kasdan updates the film noir genre with a plot also based on legal moves and technicalities. Kathleen Turner provides the romantic heat in one of her best, most seductive parts. William Hurt is probably a little bland in his role as the lawyer Ned Racine, more than willing to bend a little for his desires, as she’s married to local millionaire Richard Crenna. Look for Ted Danson as a police detective, ‘sorta friend’ of Ned the lawyer, who inexplicably dances around onscreen like Gene Kelly – you can’t tell if he’s making a play on his name, showing off his Broadway chops, or Kasdan is having him say something about the plot without words. This one has more twists than any highway in Florida, where this takes place, causing more sweat than any film in memory.

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Rififi

Jules Dassin, 1955, France, bw (7.8*)

This is a tightly plotted and gripping jewel heist movie, has the perfect film noir look, and appears very much a mid-40's American film, which stands to reason since director Jules Dassin was from Connecticut. Beautiful black and white photography, and lead actor Jean Servais actually looks like a criminal. Rififi, as we find out in an insane night club song, is "rough and tumble", and "the women like a little rififi". The 30-min heist sequence is superb, but the problem for me is that the last half hour of the film is almost anti-climactic by comparison, so the pace could be more even. Still, as the father of the heist genre, a must see, especially for noir fans.

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The Big Sleep

Dir: Howard Hawks, 1946, bw (8.1*)
Gritty, atmospheric, classic film noir from Raymond Chandler’s book (who always excels with gangster dialogue), with Humphrey Bogart as detective Philip Marlowe, Lauren Bacall as the sophisticated heiress he gets involved with, who’s trying to get someone to save her sister from a crime boss.

This was such a convoluted plot involving heiresses, drugs, gangsters, and gunplay, that even the screenwriters didn’t know who killed one victim. One of a kind, with pulp novel dialogue and gunshot victims scattered all around. William Faulkner wrote the adaptation!

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Pulp Fiction

Dir: Quentin Tarentino, 1995 (8.4*)

Palm d'Or (Cannes )

AFI Top 100

Inspired by Hong Kong filmmaker Wong Kar-Wai’s trilogy in two films, Chungking Express and Fallen Angels, this film is in three parts, with connected characters, and is a new wave crime film, "pulp noir" or "punk pulp", if you will. Samuel L. Jackson (Oscar nomination)- who reportedly got the part when Denzel said the script was "racist" to him - and John Travolta (Oscar nomination) play hit men for a drug kingpin, and two segments feature them. Boxer Bruce Willis is featured in another segment, in which we get to meet the kingpin himself, in a scene of utter degradation.
There’s a good bit of humor and some very squeamish scenes, especially one where Travolta has to save an overdosing Uma Thurman (Oscar nomination) with an adrenaline shot to the heart – yeowww! (I think I was hiding behind the seat in front of me this point, cowering like a 5 yr old in Jaws!) Harvey Keitel has a juicy turn as a "cleaner" (body removal), but you’d have to say that Tarentino is the star of this film, now a cult classic. It lost the big Oscars to the timid Forrest Gump, this likely scared the crap out of Hollywood! 7 nominations (incl. Picture and Director), One Oscar (Screenplay)

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The Maltese Falcon

Dir: John Huston, 1941, bw (9.0*)

One of the great treasure hunts on film, a film noir mystery from the pen of Dashiell Hammett, a Sam Spade novel. Thankfully George Raft turned down the part, and it made Humphrey Bogart a star. The terrific Huston script has Bogart investigating his partner's murder and he runs into Sydney Greenstreet, who is hunting for a jeweled, golden falcon left behind by the Knights Templar in the middle ages. Peter Lorre is in on the plot, as is his client Mary Astor. The ever present Elisha Cook is Greenstreet's gun.

Quote: Oh, you're good, you're real good alright. (Bogart to Astor)

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Chinatown

Dir: Roman Polanski, 1974 (8.2*)

Best Picture (GG)

AFI Top 100

Though not the greatest crime film, certainly a good example of "modern noir". There are some unforgettable scenes here, but overall the plot may drag a little and eventually stretch the viewer's credulity.

Jack Nicholson is a 40's style gumshoe detective, who uncovers a plot concerning the city's water supply and possible corruption. (Here in the U.S.? NO!) John Huston is a little over the top in a supporting role, as is Faye Dunaway as his daughter, but the star is Robert Towne's script, which won an Oscar® and elevated him to the highest paid screenwriter at the time. One Oscar® (11 nominations).

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The Grifters

Dir: Stephen Frears, 1990 (9.0*)
Based on a novel by Jim Thompson, and scripted by crime author Donald Westlake, this is a crime thriller about a trio of con artists (aka "grifters"), Angelica Huston, who fixes odds at racetracks for the mob, her son John Cusack, and a expert grifter he meets (and desires), Annette Bening. This is the best of its type, blending a 40’s style noir novel into an 80’s style film, with superb acting all around.

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House of Games

Dir: David Mamet, 1987 (9.1*)
Just about the perfect con-artist film. Mamet’s wife Lindsay Crouse plays a psychiatrist who writes books, and lets a client know she’s doing one on con-games and their perpetrators. She is then swept into their world by Joseph Mantegna, and gets far more than she bargained for. That's Ricky Jay doing the card tells, technical advisor for Mamet on his con-artist films, and usually given a part. This complex thriller gets you deeper and deeper into the plot until there’s barely room to get out. My favorite script of Mamet's.

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Sunset Boulevard

Dir: Billy Wilder, 1950, bw (9.2*)

AFI Top 100

Billy Wilder was such a great director, can you think of another film that begins with the main character floating dead in a pool, narrating his own demise? Film noir elements blend with a silver screen story of aged star Norma Desmond, well past her prime as an actress, brilliantly portrayed by Gloria Swanson. William Holden is a screenwriting gigolo who ends up with Desmond, to write her autobiography.

Her devoted butler, played by legendary director Eric von Stroheim, adds the perfect cinema connection to Desmond's life, as he obviously respects her legendary stardom. Here he makes what could be a mundane character part into that of unforgettable imagery. Holden's character is just the opportunist that one suspects populates tinseltown, especially among its not quite so successful. Of course, the story funs full circle until we find out how he came to be floating in the pool. Hollywood’s self-criticism was never handled better, a bona-fide black & white classic.

Note: Wilder revealed in an interview that the shot shown above was done with a mirror in the bottom of the pool and the camera focused on the mirrored image - this is actually the beginning of the film, as it starts with the death of the main character.

Wilder is one of the great directors, here's a small list of his best films:
The Front Page, Double Indemnity, Lost Weekend, The Spirit of St. Louis, One Two Three, Ace in the Hole, The Seven Year Itch, Sabrina, The Apartment, Some Like It Hot, Witness For the Prosecution, The Fortune Cookie.

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Out of the Past

Dir: Jacques Tourneur, 1947, bw (9.3*)

Jacques Tourneur's film is the epitome of film noir, even though only half of it occurs at night. Robert Mitchum (never better) is a small town gas station owner in the Owens Valley of California, east of the Sierras, when a passing stranger lures him back into his past association with criminal Kirk Douglas, in only his second film. The story revolves around a femme fatale, naturally, Jane Greer in a brilliantly understated performance - she was just 22 but was studio owner Howard Hughes' girlfriend at the time. You know when its tense because the main characters fire up a cigarette each time! Essential for noir buffs, often considered the quintessential film of that genre.

Quote: The view's only nice if you have someone to share it with.

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