For Noirvember, here are our staff picks for favorite noir films.
Dr. Strycharski—The Big Combo (1955)
Oscar winning cinematographer (An American in Paris) John Alton defined the noir style of extreme angles and high-contrast lighting in his 1940s Poverty Row work with Eagle-Lion films. But it was the relatively late The Big Combo (1955) where his stylings met the storyline that would produce a certified classic. Directed by B-movie king Joseph H. Lewis, Combo follows gruff Police Lt. Leonard Diamond (Cornel Wild) as he hunts the sadistic mafioso Mr. Brown (a deliciously slimy Richard Conte), while also falling for Brown’s femme fatale moll Susan Lowell (Jean Wallace). Featuring enough plot turns to make The Big Sleep blush, the film’s big combination of style and story are mesmerizing.
Tatiana – Mildred Pierce (1945)
Joan Crawford’s Oscar-winning performance in Mildred Pierce (might not be as well-known as her performance in What Ever Happened to Baby Jane? or Faye Dunaway’s portrayal of Crawford in Mommie Dearest – but it might be the most definitive Crawford role in building the persona that would dominate the second half of her career. The film’s plot reads like a classic melodrama: freeloading and cheating husbands, a dead daughter, and a very evil daughter. But it’s also the perfect representation of Post-war American women who felt stuck between going out and making something out of themselves vs. committing to their role as wives/mothers. This, the bittersweet ending, and the film’s cinematography – dominated by shadows and silhouettes in its second half – also makes Mildred Pierce the perfect “romantic” noir.
Kevin – Night of the Hunter (1955)
This 1955 classic is the only film directed by Charles Laughton, but you could have guessed it was his 10th film. The cinematography and use of shadows are amazing, especially for the time. The film features what is in my opinion Robert Mitchum’s best performance, the evil preacher with his iconic “love/hate” tatted knuckles. Sadly the movie bombed hard when it came out and faded into obscurity. If you’re looking for a good old thriller, look no further.
Austin – Double Indemnity (1944)
Billy Wilder’s masterpiece Double Indemnity (1944) is the essential film noir for anyone looking for an introduction to the genre. Co-written by Wilder and Raymond Chandler, the film’s dynamic screenplay is based on James M. Cain’s novel of the same name, and is characterized by punchy dialogue that is perfectly executed by lead actors Fred MacMurray and Barbara Stanwyck. Featuring classic noir lighting with an abundance of contrast and shadows, as well as captivating onscreen chemistry between MacMurray and Stanwyck, Wilder’s classic remains one of his most enduring films.
Kayla – Sunset Blvd (1950)
In what has become one of Hollywood’s most iconic noir films, Billy Wilder’s Sunset Boulevard is a must-watch for many reasons, the first being Gloria Swanson’s portrayal of Norma Desmond, a once-successful silent film star who now lives alone in a mansion on Sunset Boulevard (the ultimate dream). As she gets to know Joe Gillis (William Holden) a little bit better, strange events begin to transpire and leave you wondering how someone so famous could have become so diluted. To this day, I admire Swanson for playing a character who is beautiful, graceful, and deranged all at once. Actresses today wish they could reach that level of talent but really, “who’ve we got now? Some nobodies!”