Happy National Classic Movie Day, lovely readers!
I hope you will be enjoying a cozy flick (and a big piece of chocolate cake) on this momentous day, and maybe even sharing a recommendation with a friend or loved one.
Today, Rick over at Classic Film and TV Cafe is hosting the Four Favorite Film Noirs blogathon in honor of this special occasion. To celebrate, I’m bringing you 4 of my favorite noirs that tend to stay hidden in the shadows of the film noir catalog.
Let’s talk about these films and why they deserve more love.
House of Strangers (1949)
I don’t remember when I first discovered House of Strangers, all I remember is it was love at first watch.
Headed by gripping performances from Richard Conte, Edward G. Robinson, and Susan Hayward, House of Strangers tells a story of love, hate, revenge, and forgiveness which revolves around an Italian-American family in depression era New York City.
The story was adapted twice in following decades, but it is the original with its captivating script by Philip Yordan and an uncredited Joseph Mankiewicz (All About Eve) which sparkles most brilliantly.
Hangover Square (1945)
From the writings of Patrick Hamilton, author of Rope and Gaslight, comes a moody tale brimming with Gothic atmosphere.
A pianist-composer (Laird Cregar) suffering from attacks of amnesia begins to fear he is the murderer plaguing his Edwardian London town.
Linda Darnell’s opportunistic femme fatale keeps Cregar on a tight leash while George Sanders valiantly endeavors to solve the baffling mystery. The striking imagery by Joseph La Shelle (Laura) is enhanced by an appropriately chilling score from future Hitchcock collaborator, Bernard Herrmann.
The Woman on the Beach (1947)
Jean Renoir’s last film made in Hollywood before returning to Europe, although flawed in its execution, leaves a lasting impression due to its psychologically rich themes, brooding, dreamlike atmosphere, and strong performances.
When Scott (Robert Ryan) falls for the beautiful Peggy (Joan Bennett), he suspects her blind husband (Charles Bickford) is faking his infirmity to keep Peggy bound in a loveless marriage.
Though edited mercilessly and unsatisfactorily reassembled, The Woman on the Beach is mesmerizing, suspenseful, and echoes the superb artistry of Renoir.
Lady on a Train (1945)
Charming songstress Deanna Durbin steps into the shadows of film noir with a screwball twist. Amazingly, this film manages to balance the opposing genres, delivering an enjoyable, exciting ride.
Durbin is Nikki Collins, a passenger who witnesses a murder from her train window. After being dismissed by the police, Nikki’s concern and curiosity lead her to investigate the murder with the help of a mystery writer (David Bruce).
Lady on a Train is bolstered by a marvelous cast: Dan Duryea, Ralph Bellamy, Edward Everett Horton, Allen Jenkins, Elizabeth Patterson, to name just a few.
But it is the vivacity which Durbin brought to her role as the spunky titular heroine and the unexpected twists and turns that keep the film fresh and fun upon subsequent viewings.
This post is my contribution to The Four Favorite Noirs Blogathon hosted by Rick at Classic Film and TV Cafe. Click here to get lost in the world of film noir.
And now it’s over to you! What are your favorite Underrated Film Noirs?
…Let me know in the comments below…