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20 people. Sort by List order. 1. Robert Siodmak. Director. Writer. Producer. The Devil Strikes at Night (1957) Robert Siodmak (8 August 1900 - 10 March 1973) was a German-born, American film director. He is best remembered as a thriller specialist and for a series of stylish, unpretentious Hollywood films noirs he made in the 1940s.
- Neville Naidoo
- Edward Dmytryk (1908 – 1999) One of the infamous "Hollywood Ten,"Edward Dmytryk was the son of Ukrainian immigrant parents, and grew up in San Francisco.
- Jacques Tourneur (1904 – 1977) A French-American filmmaker who came to prominence during the Golden Age, Jacques Tourneur was known for a range of styles that featured many famous horror and atmospheric suspense films among them.
- Raoul Walsh (1887 – 1980) High Sierra. Release Date. January 23, 1941. Director. Raoul Walsh. Cast. Ida Lupino , Humphrey Bogart , Alan Curtis , Arthur Kennedy , Joan Leslie , Henry Hull.
- Carol Reed (1906 – 1976) The Fallen Idol. Release Date. September 30, 1948. Director. Carol Reed. Cast. Ralph Richardson , Michèle Morgan , Sonia Dresdel , Bobby Henrey , Denis O'Dea , Jack Hawkins.
Oct 4, 2017 · Top 10 Film Noir Directors. Nicholas Ray. Robert Siodmak holds the top spot on the strength of three of his greatest works, The Killers ('46), Criss Cross ('49) & The File on Thelma Jordan ('50). As is often the case in Noir, all 3 films deal with protagonists who allow themselves to be manipulated and destroyed by the wrong woman.
Film-Noir: According to the Oxford Dictionary, film-noir is "a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944–54 and to the work of directors such as Orson Welles, Fritz Lang, and Billy Wilder."
- House of Bamboo
- Stolen Death
- Brighton Rock
- One False Move
- Caught
- While The City Sleeps
- The American Friend
- The Postman Always Rings Twice
- The Asphalt Jungle
- The Killers
House of Bamboo wants to be a lush, romantic CinemaScope thriller and a Samuel Fuller movie at once. The director’s admirers will recognize those aims as almost genetically contradictory, as Fuller thrives on bold, often vitally threadbare aesthetics that suggest the visual embodiment of a tabloid headline. Indeed, Fuller’s best films don’t have mu...
Echoes of German Expressionism abound in Nyrki Tapiovaara’s tough-minded, class-conscious Stolen Death, an early Nordic noir about gun-smuggling Finnish revolutionaries opposing the Russians occupying their country in the early 20th century. Tapiovaara’s unique blend of off-kilter compositions, unconventional camera angles, foreboding high-contrast...
One of the more terrifyingly amoral, sociopathic villains in all of noir, Richard Attenborough’s Pinky is at 17 already a slave to his nihilism. Consumed by a seemingly bottomless abyss of anger, paranoia, and, in typical Graham Greene fashion, Catholic guilt, Pinky hides behind a mostly stoic visage, teasing out a smile only when he’s trying to wi...
Released days after the 1992 Los Angeles riots, One False Move offers a particularly prescient reflection of regional division and segregation still powerfully evident in Donald Trump’s America. It sees violence as the common denominator between blue and red states, a casual fact of life that cannot be stopped no matter your ethnicity or background...
Max Ophüls’s Caught offers an intense corrective to the clichés of the American noir, particularly the perception of a woman as a predatory other who pulls all the strings, leading men downward toward a doom for which they often bear implicatively little personal responsibility. Right out of the gate, Leonora Eames (Barbara Bel Geddes) is understoo...
From his Weimar films all the way through his Hollywood productions, Fritz Lang evinced a deep suspicion of any and all institutions of authority. Alongside Ace in the Hole and Sweet Smell of Success, While the City Sleeps is the most cynical and piercing of noirs to place journalism in its crosshairs. The film’s killer is a by-the-numbers figure w...
Loosely based on Patricia Highsmith’s Ripley’s Game, The American Friend wears its love of the United States and its cinematic lineage on its sleeve. From its engagement with genre tropes (particularly noir), to its tangibly grimy urban backdrops, to its archetypal hero/villain dramatic dichotomy, there’s no mistaking the film’s American influence....
The Postman Always Rings Twice is a simple, deliciously depraved film. Based on the James M. Cain novel, the story concerns a feckless drifter (John Garfield) who at a roadside inn crosses paths with the owner’s beautiful and dissatisfied wife (Lana Turner), a woman his match in both sexual appetite and sociopathy. United in lust and a general disd...
The Asphalt Jungle could be understood as a hardening of John Huston’s directorial vision, breaking away from Sam Spade in The Maltese Falcon and any greater conquest of cool for pathetic men whose minds have gone rotten from being left on the slab for too long. Dix (Sterling Hayden) is first seen woozily stumbling into a diner, which is apt given ...
Ernest Hemingway’s 1927 short story “The Killers” is a marvel of implication and showing rather than telling. Robert Siodmak’s adaptation opens with a beat-for-beat adaptation of the story that neatly functions as a self-contained short, elegantly alluding to the oppression that’s evident in the nooks and crannies of a lunch counter’s interiors, wh...
Film Noir Directors. 1. Franklin Adreon. Franklin Adreon was born on November 18, 1902 in Gambrills, Maryland, USA. He was a director and producer, known for Panther Girl of the Kongo (1955), King of the Carnival (1955) and Cyborg 2087 (1966). He died on September 10, 1979 in Ventura County, California, USA.
The 100 Greatest Film Noirs of All-Time. Greatest Classic Film Noirs (1940-1958) The term "Film noir" (literally 'black film" or "black cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres during and following World War II.
