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If you're interested in the Film Noir, you might want to check these out.
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1. M
(1933) This seminal film by Fritz Lang is often considered to be one of the earliest examples of film noir. All the roots of classic noir can be seen developing from the seeds German expressionism here--shadowy city streets, paranoia and internal conflict, and plenty of moral ambiguity to boot. |
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2. The Maltese Falcon
(1941) This adaptation of Dashiell Hammet's crime novel forever cemented Bogart's image as the world-weary cynical tough guy in a trench coat and fedora. |
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3. Double Indemnity
(1944) With a tense plot and wonderful dialogue just dripping in Chandler's style (he co-wrote the screenplay), this is a must-see. |
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4. Laura
(1944) 'Laura' combines a wonderfully illusory atmosphere with a masterfully told murder mystery full of twists. Interesting in that it doesn't contain much in the way of classic noir imagery, yet is so clearly identified with the genre. |
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5. Murder, My Sweet
(1944) Dick Powell, formerly known as a musical romantic lead, made for an unlikely star in the role of tough P.I. Marlowe--but ended up owning the part. |
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6. The Big Sleep
(1946) The adaptation of Raymond Chandler's first novel has a messy, tangled, and impenetrable plot, but more than makes up for it in style and atmosphere. It also benefits from the undeniable chemistry between Bogie & Bacall. |
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7. Out of the Past
(1947) The dialogue in this movie is pretty much a gold mine of quotable hard-boiled goodness. "If I have to die, I'm going to die last." |
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8. Thieves' Highway
(1949) Fantastic film noir set in the old produce district of San Francisco, which is today the Embarcadero. Valentina Cortese and Richard Conte crackle on-screen, and the truck-driving sequences are very well done; they have not aged poorly at all. |
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9. Sunset Boulevard
(1950) A classic of both noir and of film in general. |
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10. In a Lonely Place
(1950) It's been said that Humphrey Bogart's role in this film was one of the closest to his own personality. He absolutely inhabits the role. |
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11. The Asphalt Jungle
(1950) A gritty, character-driven heist flick with an early appearance by Marylin Monroe. |
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12. The Third Man
(1950) This is not quite as straight-noir as the others on this list, but the cinematography of a shadowy bombed-out Vienna have created some of the most striking and iconic noir visuals out there. Orson Welles also gets one of the best character entrances ever. |
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13. Touch of Evil
(1958) Considered to be one of the last landmark film noirs. Watch it even just for the opening shot. |
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The Third Man is like a movie from a parallel dimension. It does things that other films can't really copy.
I wonder if Chandler knew his writing was so heavily stylized, or if he just liked writing that way. Loved the dialogue in Double Indemnity, even if it was a bit surreal :)
Sunset Boulevard illustrates why black and white is superior in some ways than color, I think. Really brings out detail in a scene.
M took some interesting risks.
I'm curious about your impressions of 'The Third Man'. I thought it was a great movie, but what about it, for you, makes it like something "from a parallel dimension"? You've piqued my interest. :)
I can't say that it's one of my favorite movies, but I feel like it was a bridge into something great. For the first 20 minutes or so I sort of fell in love with its unique tone.
Nice, you hit all the classics. I'd highly reccomend all of those, in particular Double Indemnity. That's my all-time favorite noir.