Film Noir

Sort of akin to my Westerns marathon, this should serve as a wonderful, deep exploration of the genre of Film Noir. I have enjoyed film noir as I have come across it, but I have failed to explore it at great length, to seek out its most famous films, and discover some of its more hidden treasures. I look forward to following through the history of this genre and coming across the menace, the shadows, the dark underworlds, and of course, the femme fatales.

The list for this marathon is taken from the They Shoot Pictures, Don’t They 250 Quintessential Noir Films list.

Stranger on the Third Floor (Boris Ingster, 1940)
The Letter (William Wyler, 1940)
High Sierra (Raoul Walsh, 1941)
I Wake Up Screaming (H. Bruce Humberstone, 1941)
Suspicion (Alfred Hitchcock, 1941)
The Maltese Falcon (John Huston, 1941)
Among the Living (Stuart Heisler, 1941)
The Shanghai Gesture (Josef von Sternberg, 1941)
This Gun for Hire (Frank Tuttle, 1942)
Street of Chance (Jack Hively, 1942)
The Glass Key (Stuart Heisler, 1942)
Shadow of a Doubt (Alfred Hitchcock, 1943)
Journey Into Fear (Norman Foster, 1943)
Christmas Holiday (Robert Siodmak, 1944)
The Lodger (John Brahm, 1944)
Phantom Lady (Robert Siodmak, 1944)
Double Indemnity (Billy Wilder, 1944)
The Mast of Dimitrios (Jean Negulesco, 1944)
When Strangers Marry (William Castle, 1944)
Laura (Otto Preminger, 1944)
Ministry of Fear (Fritz Lang, 1944)
The Woman in the Window (Fritz Lang, 1944)
Dark Waters (Andre De Toth, 1944)
The Suspect (Robert Siodmak, 1944)
Murder, My Sweet (Edward Dmytryk, 1944)
Strange Illusion (Edgar G. Ulmer, 1945)
Conflict (Curtis Bernhardt, 1945)
The Strange Affair of Uncle Harry (Robert Siodmak, 1945)
The Lost Weekend (Billy Wilder, 1945)
The House on 92nd Street (Henry Hathaway, 1945)
Mildred Pierce (Michael Curtiz, 1945)
Johnny Angel (Edwin L. Marin, 1945)
Hangover Square (John Brahm, 1945)
Fallen Angel (Otto Preminger, 1945)
My name is Julia Ross (Joseph H. Lewis, 1945)
Sanger Signal (Robert Florey, 1945)
Detour (Edgar G. Ulmer, 1945)
Leave Her to Heaven (John M. Stahl, 1945)
Cornered (Edward Dmytryk, 1945)
Scarlet Street (Fritz Lang, 1945)
Spellbound (Alfred Hitchcock, 1945)
Shock (Alfred L. Werker, 1946)
Gilda (Charles Vidor, 1946)
Deadline at Dawn (Harold Clurman, 1946)
The Dark Corner (Henry Hathaway, 1946)
The Blue Dahlia (George Marshall, 1946)
The Postman Always Rings Twice (Tay Garnett, 1946)
The Stranger (Orson Welles, 1946)
Somewhere in the Night (Joseph L. Mankiewcz, 1946)
Suspense (Frank Tuttle, 1946)
The Strange Love of Martha Ivers (Lewis Milestone, 1946)
Black Angel (Roy William Neill, 1946)
Notorious (Alfred Hitchcock, 1946)
The Big Sleep (Howard Hawks, 1946)
The Killers (Robert Siodmak, 1946)
Crack-Up (Irving Reis, 1946)
So Dark the Night (Joseph H. Lewis, 1946)
The Dark Mirror (Robert Siodmak, 1946)
Nobody Lives Forever (Jean Negulesco, 1946)
Nocturne (Edwin L. Marin, 1946)
The Chase (Arthur Ripley, 1946)
Undercurrent (Vincente Minnelli, 1946)
The Locket (John Brahm, 1946)
Dead Reckoning (John Cromwell, 1947)
Johnny O’Clock (Robert Rossen, 1947)
Lady in the Lake (Robert Montgomery, 1947)
The Brasher Boubloon (John Brahm, 1947)
Nora Prentiss (Vincent Sherman, 1947)
Boomerang! (Elia Kazan, 1947)
The Red House (Delmer Daves, 1947)
Fear in the Night (Maxwell Shane, 1947)
Born to Kill (Robert Wise, 1947)
Desperate (Anthony Mann, 1947)
Framed (Richard Wallace, 1947)
The Web (Michael Gordon, 1947)
The Long Night (Anatole Litvak, 1947)
The Woman on the Beach (Jean Renoir, 1947)
Brute Force (Jules Dassin, 1947)
They Won’t Believe Me (Irving Pichel, 1947)
Crossfire (Edward Dmytryk, 1947)
Possessed (Curtis Bernhardt, 1947)
Kiss of Death (Henry Hathaway, 1947)
Railroaded! (Anthony Mann, 1947)
Dark Passage (Delmer Daves, 1947)
The Unsuspected (Michael Curtiz, 1947)
Ride the Pink Horse (Robert Montgomery, 1947)
Nightmare Alley (Edmund Goulding, 1947)
Body and Soul (Robert Rossen, 1947)
Out of the Past (Jacques Tourneur, 1947)
T-Men (Anthony Mann, 1947)
High Wall (Curtis Bernhardt, 1947)
The Lady from Shanghai (Orson Welles, 1947)
Secret Beyond the Door (Fritz Lang, 1947)
I Walk Alone (Byron Haskin, 1948)
Call Northside 777 (Henry Hathaway, 1948)
The Naked City (Jules Dassin, 1948)
The Big Clock (John Farrow, 1948)
Ruthless (Edgar G. Ulmer, 1948)
Berlin Express (Jacques Tourneur, 1948)
Raw Deal (Anthony Mann, 1948)
Hollow Triumph (Steve Sekely, 1948)
Pitfall (Andre De Toth, 1948)
The Street with No Name (William Keighley, 1948)
Key largo (John Huston, 1948)
They Live By Night (Nicholas Ray, 1948)
Sorry, Wrong Number (Anatole Litvak, 1948)
Behind Locked Doors (Budd Boetticher, 1948)
Road House (Jean Negulesco, 1948)
Cry of the City (Robert Siodmak, 1948)
Moonrise (Frank Borzage, 1948)
Night Has a Thousand Eyes (John Farrow, 1948)
Kiss the Blood Off My Hands (Norman Foster, 1948)
He Walked by Night (Alfred L. Werker & Anthony Mann, 1948)
The Dark Past (Rudolph Mate, 1948)
Force of Evil (Abraham Polonsky, 1948)
Criss Cross (Robert Siodmak, 1949)
The Accused (William Dieterle, 1949)
Act of Violence (Fred Zinnemann, 1949)
Caught (Max Ophuls, 1949)
Impact (Arthur Lubin, 1949)
The Undercover Man (Joseph H. Lewis, 1949)
The Set-Up (Robert Wise, 1949)
Champion (Mark Robson, 1949)
House of Strangers (Joseph L. Mankiewicz, 1949)
Follow Me Quietly (Richard Fleischer, 1949)
The Window (Ted Tetzlaff, 1949)
Too Late for Tears (Byron Haskin, 1949)
The Third Man (Carol Reed, 1949)
White Heat (Raoul Walsh, 1949)
Red Light (Roy Del Ruth, 1949)
The Woman on Pier 13 (Robert Stevenson, 1949)
Thieves’ Highway (Jules Dassin, 1949)
Beyond the Forest (King Vidor, 1949)
Border Incident (Anthony Mann, 1949)
Tension (John Berry, 1949)
Whirlpool (Otto Preminger, 1949)
The Reckless Moment (Max Ophuls, 1949)
The File of Thelma Jordon (Robert Siodmak, 1950)
Gun Crazy (Joseph H. Lewis, 1950)
The Tattooed Stranger (Edward Montagne, 1950)
Side Street (Anthony Mann, 1950)
House by the River (Fritz Lang, 1950)
Night and the City (Jules Dassin, 1950)
One Way Street (Hugo Fregonese, 1950)
Guilty Bystander (Joseph Lerner, 1950)
D.O.A. (Rudolph Mate, 1950)
The Damned Don’t Cry (Vincent Sherman, 1950)
Ina Lonely Place (Nicholas Ray, 1950)
The Asphalt Jungle (John Huston, 1950)
Armed Car Robbery (Richard Fleischer, 1950)
Destination Murder (Edward L. Cahn, 1950)
Panic in the Streets (Elia Kazan, 1950)
Where the Sidewalk Ends (Otto Preminger, 1950)
711 Ocean Drive (Joseph M. Newman, 1950)
The Second Woman (James V. Kern, 1950)
Where Danger Lives (John Farrow, 1950)
Mystery Street (John Sturges, 1950)
Edge of Doom (Mark Robson, 1950)
A Lady Without a Passport (Joseph H. Lewis, 1950)
Kiss Tomorrow Goodbye (Gordon Douglas, 1950)
Sunset Blvd. (Bill Wilder, 1950)
The Sleeping City (George Sherman, 1950)
Union Station (Rudolph Mate, 1950)
The Breaking Point (Michael Curtiz, 1950)
Dark City (William Dieterle, 1950)
Southside 1-1000 (Boris Ingster, 1950)
Woman in the Run (Norman Foster, 1950)
The Killer That Stalked New York (Earl McEvoy, 1950)
The Sound of Fury (Cy Enfield, 1950)
The Man Who Cheated Himself (Felix E. Feist, 1950)
Cry Danger (Robert Parrish, 1951)
The Enforcer (Bretaigne Windust & Raoul Walsh, 1951)
M (Joseph Losey, 1951)
Cause for Alarm (Tay Garnett, 1951)
I Was a Communist for the FBI (Gordon Douglas, 1951)
The Prowler (Joseph Losey, 1951)
He Ran All the Way (John Berry, 1951)
Strangers on a Train (Alfred Hitchcock, 1951)
Ace in the Hole (Billy Wilder, 1951)
The Strip (Laszlo Kardos, 1951)
His Kind of Woman (John Farrow & Richard Fleischer, 1951)
The Mob (Robert Parrish, 1951)
Roadblock (Harold Daniels, 1951)
Detective Story (William Wyler, 1951)
The Unknown Man (Richard Thorpe, 1951)
The Racket (John Cromwell, 1951)
On Dangerous Ground (Nicholas Ray & Ida Lupino, 1951)
Scandal Sheet (Phil Karlson, 1952)
The Captive City (Robert Wise, 1952)
Talk About a Stranger (David Bradley, 1952)
Macao (Josef von Sternberg & Nicholas Ray, 1952)
The Narrow Margin (Richard Fleischer, 1952)
The Sniper (Edward Dmytryk, 1952)
Loan Shark (Seymour Friedman, 1952)
Clash By Night (Fritz Lang, 1952)
Sudden Fear (David Miller, 1952)
Beware, My Lovely (Harry Horner, 1952)
The Thief (Russell Rouse, 1952)
Kansas City Confiedential (Phil Karlson, 1952)
The Turning Point (William Dieterle, 1952)
Angel Face (Otto Preminger, 1952)
Niagara (Henry Hathaway, 1953)
99 River Street (Phil Karlson, 1953)
The Blue Gardenia (Fritz Lang, 1953)
The Hitch-Hiker (Ida Lupino, 1953)
Jeopardy (John Sturges, 1953)
Pickup on South Street (Samuel Fuller, 1953)
City That Never Sleeps (John H. Auer, 1953)
I, the Jury (Harry Essex, 1953)
Vicki (Harry Horner, 1953)
The Big Heat (Fritz Lang, 1953)
Crime Wave (Andre De Toth, 1954)
World for Ransom (Robert Aldrich, 1954)
Drive a Crooked Road (Richard Quine, 1954)
Witness to Murder (Roy Rowland, 1954)
Human Desire (Fritz Lang, 1954)
Pushover (Richard Quine, 1954)
Private Hell 36 (Don Siegel, 1954)
Rogue Cop (Roy Rowland, 1954)
Suddenly (Lewis Allen, 1954)
Black Tuesday (Hugo Fregonese, 1954)
The Big Combo (Joseph H. Lewis, 1955)
Mr. Arkadin (Orson Welles, 1955)
The Night of the Hunter (Charles Laughton, 1955)
Kiss Me Deadly (Robert Aldrich, 1955)
The Phenix City Story (Phil Karlson, 1955)
Killer’s Kiss (Stanley Kubrick, 1955)
The Desperate Hours (William Wyler, 1955)
The Big Knife (Robert Aldrich, 1955)
Slightly Scarlet (Allan Dwan, 1956)
The Killer is Loose (Budd Boetticher, 1956)
The Killing (Stanley Kubrick, 1956)
While the City Sleeps (Fritz Lang, 1956)
Nightmare (Maxwell Shane, 1956)
Beyond a Reasonable Doubt (Fritz Lang, 1956)
The Wrong Man (Alfred Hitchcock, 1956)
Crime of Passion (Greg Oswald, 1957)
Nightfall (Jacques Tourneur, 1957)
The Burglar (Paul Wendkos, 1957)
Sweet Smell of Success (Alexander Mackendrick, 1957)
Plunder Road (Hubert Cornfield, 1957)
Touch of Evil (Orson Welles, 1958)
The Lineup (Don Siegel, 1958)
Party Girl (Nicholas Ray, 1958)
Murder By Contract (Irving Lerner, 1958)
The Crimson Kimono (Samuel Fuller, 1959)
Odds Against Tomorrow (Robert Wise, 1959)
Underworld U.S.A. (Samuel Fuller, 1961)
Cape Fear (J. Lee Thompson, 1962)
The Naked Kiss (Samuel Fuller, 1964)

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