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61  Other/Miscellaneous / Off-Topic Discussion / Re: Nordic Noir- Department Q:The Absent One (2014) on: May 29, 2017, 05:22:58 PM
Thanks, I'll put this on my list. I've been looking for some more Nordic Noir.

Hi Jess,a box set of the three Department Q movies has recently come out in the US :

https://www.amazon.com/Department-Trilogy-Nikolaj-Lie-Kaas/dp/B01LXUZO67

62  Other/Miscellaneous / Off-Topic Discussion / Re: Argentina Neo-Noir The Lion's Share (1978) on: May 29, 2017, 05:18:10 PM
Just a heads up morrison-dylan-fan it's helpful if you give us a source, or how viewed it.  Afro

Thanks CJ,I'll try to remember next time  Afro
63  Other/Miscellaneous / Off-Topic Discussion / Argentina Neo-Noir The Lion's Share (1978) on: May 29, 2017, 12:08:01 PM

6

** This review may contain spoilers ***

For bank holiday Monday,I decided to pick one of the titles that I've been saving to watch. Reading up a little on Argentina Neo- Noir after watching the excellent original The Secret In Their Eyes,I decided that it was time to grab the lions tail of this Neo- Noir.

The plot:

Robbing a bank,Larsen and some other gangsters decide to hide their cash in a water tank. Looking out of the office window bored,burnt- out Bruno Di Toro spots someone messing with a water tank across the road. Investigating later.Toro finds himself with more cash than he has ever had,but soon finds that he will have to fight to keep the lion's share.

View on the film:

Setting the sunrise/sunset on the movie, Aníbal Gruart and Jorge Navarro snap open a crunchy score,with grinding guitars stepping on Mario's Neo-Noir anxiety and smooth Jazz drums giving the title a simmering tension. Looking for a safe haven with a bagful of cash, Julio De Grazia gives a great performance as the dripping with fear,Neo-Noir loner Bruno Di Toro,while Ulises Dumont stabs the flick with an ice cold charm as gangster Larsen.

Taking the lion share of credit,debuting writer/director Adolfo Aristarain & cinematographer Horacio Maira attack the "dirty war" that the military government were committing, (from 1976-1983 between 9,089 to 30,000 people "disappeared") via red neon lights and whip-pans round the crumbling streets exposing the decay and loss of any trust that has taken root. Running 75 minutes (not counting credits) the screenplay by Adolfo Aristarain has the chance to grill a lean Neo-Noir. Gradually setting up Toro's life, Aristarain disappointingly remains completely detached,with the dour Noir atmosphere thinning out any flames of fear,and there being little progression in the building of pessimism inside of Toro,as he looks into the lion's mouth.
64  Other/Miscellaneous / Off-Topic Discussion / Re: French Noir: Deadlier Than The Male (1952) on: May 20, 2017, 05:44:16 PM
Thank you for the review! A tick has been sent Wink

I've been meaning to check out this movie, I wish the French blu-ray had English subs, but alas... Guess I'll have to find it online, hah.

The 'other' 'Deadlier Than The Male' movie, from 1967, is also worth checking. It's got pulp novel character Bulldog Drummond in a James Bond spoof movie. Not as bad as it may sound.

Thank you for telling me about the other Deadlier XHC,and check your PMs.

65  Other/Miscellaneous / Off-Topic Discussion / Nordic Noir- Department Q: A Conspiracy of Faith (2016) on: May 19, 2017, 05:35:12 PM

8/10

* This review may contain spoilers ***

After diving into the jet-black snow of the Nordic Noir dark Comedy In Order of Disappearance in September 2016,I took a look at director Hans Petter Moland's IMDb page,and found that Moland had made the 3rd title in the Department Q movies. Originally being unable to find the film on DVD (it is now out in a box set) I was thrilled to find the BBC recently showing all the movies in the series,which led to me again joining the department.

The plot:

Spending years working the cold cases with Assad in Department Q, detective Carl Mørck begins expressing about how worn down he is starting to feel. On a beach, a person finds a message in a bottle. As the bottle lands on Department Q, Mørck and Assad realise that the note is from a boy who was kidnapped six years ago by someone with religious connections. Attempting to identify the boy, Assad and Mørck uncover a series of kidnaps and murders have taken place,of children whose parents were involved in various short-lived religious cults,that leads to this being holy final mission for Mørck.

View on the film:

Ploughing the frost of In Order Of Disappearance,director Hans Petter Moland & cinematographer John Andreas Andersen give the title an icy Nordic Noir chill,with a car park chase and the ocean where the killer hides being given a rough quality expressing the darkness that hides in the isolated locations. Cutting into the backstory of the killer with a Slasher-style flashback ( "No Mommy!") Moland gives (what appears to be) the final Department Q movie an earthy gravitas,in stylish close-ups uncovering the burnt-out state of Mørck.

Returning to adapt Jussi Adler-Olsen's (who has written 7 books in the series) book,the screenplay by Nikolaj Arcel loses some of the tightly coiled focus of the second entry by leaving open wounds in the investigation,with the "professional" level Department Q is held in being at odds with the open goals they miss (no one uses a tracking device to try and find the psycho.) Making the memory of a strange noise a major clue,Arcel borrows from the Giallo genre for a slick Nordic Noir serial killer tale,where the unmasking of the killer is cleverly linked to Nordic Noir's major theme of the corrupt business elite,as Department Q closes its doors.
66  Other/Miscellaneous / Off-Topic Discussion / Re: French Noir: Deadlier Than The Male (1952) on: May 15, 2017, 03:45:19 PM
I too have been trying to see this film, have heard so much about it. Unfortunately the French DVD has no subtitles. Morrison, do you have a subtitles DVD?

Hi Jess,check your PMs.

67  Other/Miscellaneous / Off-Topic Discussion / French Neo-Noir:The Beat That My Heart Skipped (2005) on: May 14, 2017, 04:54:25 PM

7

*** This review may contain spoilers ***

Taking part in a poll on ICM on the best films of 2005,I started looking for French flicks from the year. Avoiding the movie due to the twee title,I was surprised to discover that the film was not a Romance,but a remake of 1978's Fingers (which I've not yet seen) that led to me catching up to the beat.

The plot:

Joining his dad Robert in business by beating up people who turn down deals,Thomas Seyr gets involved with pals Fabrice and Sami in setting up dodgy real estate deals. Becoming fully involved in a daily life of crime after his classical pianist mum died 8 years ago,Thomas is woken up when he crosses paths with his mums former manager,who asked Thomas if he has ever considered playing classical music,which makes Thomas play a new tune to his life.

View on the film:

Working as a director for hire, (producer Pascal Caucheteux wanted to do another remake after producing the US remake of Assault on Precinct 13) co-writer/(with Tonino Benacquista) director Jacques Audiard & cinematographer Stéphane Fontaine fluidly play Neo-Noir notes spun from up close,documentary-style "shaky" camera moves pushing the viewers nose into Thomas's grey and grime crime world. Backed by a warm score from Alexandre Desplat,Audiard finely tunes the darkness with shots of lights,as side shots of Thomas playing captures the notes in life Thomas is trying to hit,as his artistic dreams are plucked by the family life of crime.

Changing the plot after co-writer Benacquista said he hated Fingers, (what a perfect choice to write the remake!)the writers wonderfully string Thomas as a loner in a constant search to find a place to fit in,with a Neo-Noir self-contempt making Thomas believe that he must follow his dad's footsteps. Focusing on the relationship between Thomas and music,the writers wonderfully contrast between the music hall lights that Thomas escapes to,with the vicious,daily grind of his Noir life of crime. Joined by a great support cast that includes Anton Yakovlev as Minskov and Mélanie Laurent as Minskov's Girlfriend, Romain Duris (who got taught by his sister to play the piano for the film) gives an excellent performance as Thomas,which flows with the dream optimism of a new life,which Duris grinds down with a nose to the grindstone suspicion from Thomas that a finally piece has been written for his life.

68  Other/Miscellaneous / Off-Topic Discussion / French Noir: Deadlier Than The Male (1952) on: May 13, 2017, 07:55:54 PM

 "Better a widow than a divorcée."

10

 * This review may contain spoilers ***

With most of the family on holiday,I realised that I could catch-up on some long awaited viewings. Reading excellent comments on the title from fellow IMDber dbdumonteil,I decided to discover how much deadlier auteur Julien Duvivier could make things.

The plot:

Divorced from his wife Gabrielle for over 20 years, André Chatelin has poured his heart and soul into becoming the greatest chef in Paris,with even the President going for regular meals at Chatelin's café. Whilst clearing up,Catherine walks in. Not having seen Gabrielle's for over 20 years,Catherine reveals to Chatelin that she has recently died,and that she herself is Gabrielle's daughter. Bringing Catherine into the business, Chatelin starts finding Catherine placing romantic feelings on him. Whilst Chatelin takes everything at face value,Catherine starts cooking up a scheme that will reveal her to be deadlier than the male.

View on the film:

Opening with a crane shot sweeping up the streets of Paris, co- writer/(with Charles Dorat/Maurice Bessy and Pierre-Aristide Bréal) directing auteur Julien Duvivier & Henri-Georges Clouzot's regular cinematographer Armand Thirard pull the viewer into the dirty side streets with a glistening "evil under the flames" aura being cooked up in the kitchen between Chatelin and Catherine, which spills over in dazzling pre-French New Wave outdoor shooting,which gives Chatelin's battles for Catherine an on the spot urgency. Served in just under two hours, Duvivier grills his unique Film Noir style with a rich canvas of lingering murky shadows and transfixing tracking shots,which sway on the pessimism seeping into Chatelin's "image" of Catherine.

Giving the viewer the opportunity to taste Chatelin's Noir meals,the screenplay by Duvivier/Bessy and Bréal fully explore the relationships in brilliantly subtle gestures,via the almost- son/dad bond between Chatelin and Gérard Delacroix breaking down into Noir loners fighting in the streets,and Catherine's humble,pristine image being chipped away to unveil the heart of a Femme Fatale. Keeping her real hand out of sight,the writers smartly spend the first hour threading a bond between Catherine and Chatelin that shines with some glimpses of sincere love,which wilts away into the Noir tar that Catherine tries to keep out of Chatelin's sight.

Shimmering into Chatelin's kitchen, Danièle Delorme gives an exquisite performance as Catherine,whose Femme Fatale mind games are given an earthy veneer by Delorme that tug at the heart strings of Chatelin,and shake up the Angry Young Man tension within Gérard. Giving his exchanges with Gérard (played by a great Gérard Blain) a parental warmth,Jean Gabin gives an extraordinary performance as Chatelin. Constantly seeing the burnt embers of past romantic relationships,Gabin catches the youthful excitement that surrounds Chatelin in a new romance,but is unable to escape the Noir loner wriggling unease that Catherine has a hidden side that is about to steam up.

69  Other/Miscellaneous / Off-Topic Discussion / Brit Noir: The Dark Man (1951) on: May 10, 2017, 05:02:37 PM

Thanks to Jess,whose Brit Noir comments got me to check this rare movie out.

7

* This review may contain spoilers ***

After watching a trio of titles,I began talking to someone on a Fistful of Leone about British Film Noir,which led to me checking various lists. Catching a glimpse of her in the easy-going British Comedy Operation Bullshine,I realised that my dad had recently picked up a rare Barbara Murray Noir,which led to me meeting the dark man.

The plot:

Successfully killing his target and the cab driver,"The Dark Man" finds his identity to get uncovered,when actress Molly Lester drives pass as he kills the taxi driver. Suspecting that a double murder has taken place, Detective Inspector Viner starts searching for any clues to the suspect. Recognising Lester's face on a stage poster,Dark Man starts making plans for Lester's final performance.

View on the film:

Encouraging Lester to not focus on the "strange" events recently taking placing around her, Barbara Murray gives a charming,Diva- style performance as actress Carol Burns,whilst future Dr.Who William Hartnell gives the title a good dose of gruffness as a Superintendent. Lingering in the shadows, Maxwell Reed gives a menacing performance as The Dark Man,who pulls the raw nerves of Natasha Parry's fraught Lester.

Mostly keeping The Dark Man in long shadows,writer/director Jeffrey Dell & cinematographer Eric Cross undermine their attempt to create a mysterious mood by openly showing his face for the whole double murder. Shot on location along the south coast of England,Dell releases a superb,crisp Film Noir atmosphere,where the camera pans across an entire beach,and spots The Dark Man looking over Lester's shoulder. Shading corner of the sets in Film Noir low-lighting for The Dark Man to hide in,Dell cleverly uses real buildings at the location to give a depth of field to the Film Noir paranoia,with the lights from a lighthouse being cast across the sands and lining it in ultra-stylised black and white patterns,as The Dark Man loses his shadow.
70  Other/Miscellaneous / Off-Topic Discussion / Nordic Noir- Department Q:The Absent One (2014) on: May 08, 2017, 04:28:33 PM

9

* This review may contain spoilers ***

Nearing the end of the magnificent second series of the Nordic Noir TV show Follow The Money,I started to read the Nordic Noir book Mercy (Department Q 1)by Jussi Adler-Olsen. Looking for more info on Olsen's work,I checked online,and found three Department Q adaptations. Deciding to not watch Mercy until I finished the book,I got set to meet the absent ones.

The plot:

At an office party,police officer Carl Mørck is approached by an old man who asks if Mørck's Department Q has look into the cold case related to the death of his children. Feeling uneasy round him, Mørck gets the guy thrown out. Later that night, Mørck learns that the man has killed himself. Regretting his words, Mørck and fellow officer Assad open the files on the dead man's twins,and discover a murderous class from twenty years ago, who are now in the top class of society.

View on the film:

Going back and forth over 20 years, the screenplay by Nikolaj Arcel & Rasmus Heisterberg gaze upon the "murderous boarding school" sub- section of the Giallo genre,where the students are taught a vicious Noir arrogance that is left to fester for 20 years. Along with the school antics giving their Jussi Adler-Olsen adaptation a visceral edge,the writers strike the present with a deep Nordic Noir pessimism,as Mørck and Assad's investigation leads to an intense unlocking of the business elite (a major theme of the genre) ) that sets alight a superb,grim final page for Department Q.

Looking towards the Giallo,director Mikkel Nørgaard & cinematographer Eric Kress take advantage of the school setting for a slice of sleaze,via the fading gold colurs of the flashbacks being torn with naked girls,masked thugs and deep red blood being rubbed on the screen. Limiting any bright lights to the past, Nørgaard makes the teams investigation one that smashes the pristine glass world of the killers,to expose the moulding blacks and greens under the surface.

Years before putting on the mild-manner business glasses of Simon in Follow the Money,David Dencik gives a wonderful, uncomfortably meek performance as Ulrik Dybbøl,whilst Sarah-Sofie Boussnina gives an excellent,ticking time bomb performance as Kimmie. Attemping to learn what took place 20 years ago, Nikolaj Lie Kaas and Fars Fares give great,burnt-out,Nordic Noir loner performances as Mørck and Assad,who both meet the chosen ones.

71  Other/Miscellaneous / Off-Topic Discussion / French Noir: Eaux profondes (1981)/Patricia Highsmith's Deep Water. on: April 22, 2017, 04:13:30 PM

Hi all,for the last week or so my viewings have dried up due to taking care of ill family members,but I recently caught this superb French Neo-Noir.

10

*** This review may contain spoilers ***

After the earthy Neo-Noir Coup de torchon exceeded all my expectations,I decided to see if lead actress Isabelle Huppert made any other titles in 1981. Always looking out for Patricia Highsmith adaptation since seeing The Talented Mr.Ripley in the early 2000's,I was thrilled to stumble on an adaptation with Huppert,which led to me dipping into the pool.

The plot:

Nearing their 8th wedding anniversary, Vic Allen nonchalantly accepts the "open" state of his younger wife Melanie's side of the marriage. Bringing any guy back home who takes her fancy,Vic watches on as Melanie gets close to each new lover. Wanting to "joke" around with the guys,Vic tells them a story about how he one time killed a former lover of Melanie. Seeing little point in keeping the marriage going,Melanie starts making divorce plans so that she can get together with her new lover. Fearing that Melanie is about to leave,Vic pushes his previously nonchalant side over the deep end.

View on the film:

Drawing every guy with her gaze, Isabelle Huppert gives an entrancing performance as Melanie,whose flirting Huppert gives a relaxed nature to,which Huppert sharply balances by giving Melanie icy, Femme Fatale nails that scratch at Vic's attempt to stop Melanie getting her "toy." Watching his wife make out, Jean-Louis Trintignant gives a wonderful performance as Vic,who initially acts just a bit too friendly towards everyone. Keeping the anxiety in the marriage simmering away, Trintignant shatters Vic's calm with a calculating Noir loner manner that uncoils as Vic gets Melanie's lovers in his grasp.

Backed by a deliciously brash Jazz score,co-writer/(with Florence Delay and Christopher Frank) director Michel Deville & cinematographer Claude Lecomte whirl Film Noir chic with the dazzling style of the Giallo. While Vic and Melanie hit a dark stage in their marriage, Deville lashes the screen in vibrant reds and Giallo yellow that give the title a sweet pulp atmosphere. Cracking the relaxed shell of Vic, Deville hits the screen with ultra- stylised,scatter-shot whip-pans and razor sharp editing stabbing the murderous calculations Vic has made.

Swimming in Patricia Highsmith's novel,the screenplay by Delay/ Frank/Deville cleverly give the couple a "free love" appearance for the opening,which subtly pulls the viewers guard down. Slicing into the Noir decay of the marriage,the writers brilliantly burn layer by layer the facade Vic has made Melanie believe,as Vic sets his sights on the designated victim.

72  Other/Miscellaneous / Off-Topic Discussion / French Neo-Noir Coup de torchon (1981)/Jim Thompson's Pop 1280. on: April 17, 2017, 06:37:07 PM

There are DVDs of it with no subs,but Criterion have put it out on a now oop DVD:

https://www.amazon.fr/Coup-Torchon-Criterion-Collection-Zone/dp/B000059H7Q/ref=sr_1_9/260-7039368-6442020?s=dvd&ie=UTF8&qid=1492475592&sr=1-9&keywords=Coup+de+torchon

9

*** This review may contain spoilers ***

Despite seeing his name mentioned in connection with French cinema for a number of years,I've never had the chance to see a work from auteur Bertrand Tavernier. Getting set for a poll on the best films of 1981 on ICM,I took a look at French movies from the year,and was thrilled to spot to see Tavernier take on Jim Thompson!,which led to me flying the coup.

The plot:

1938-A French colony in West Africa.

Being one of the few "symbols" of law and order in the colony,police officer Lucien Cordier shows a disregard for the powers which matches the state of his personal life,where his wife Huguette has invited a "fake brother"/lover round to live with them,and Cordier himself tries starting an affair up with Rose Mercaillou. Treating black people as lower than dirt, Cordier overlooks any misdeeds with the mere fistful of a bribe. Annoyed at two pimps questioning his power,Cordier asks for advice from fellow officer Marcel Chavasson,who tells him to "act forcibly" which leads to Cordier using a bit too much force in the colony.

View on the film:

Appearing in Cordier's life like a flower in the desert, Isabelle Huppert gives an impeccable performance as Rose Mercaillou,with Huppert giving Rose pointed petals which get burnt by the simmering Noir frustrations of Cordier. Keeping her other lover secret, Stéphane Audran gives a great, consistently changing performance as Huguette Cordier,whose flirting with the toyboy Audran turns to stone at the mere whiff of her husband Lucien.

Stomping round the colony like a crusty warthog, Philippe Noiret gives a magnificent performance as Lucien Cordier. Wanting to do as little work as possible,Noiret gives Cordier an unsettling casual attitude to fights on the street,and signs of annoyance at even the suggestion of helping out black people in the colony. Taking officer Chavasson's advice, Noiret sands down to the Neo-Noir veins of Cordier,that are pulled with a friction over Cordier overstepping in the land.Dissecting the original US setting for a French African colony,co- writer/(with Jean Aurenche) director Bertrand Tavernier & cinematographer Pierre-William Glenn retain the Noir roots with a blistering evil under the sun atmosphere, that makes the sights of the local mob and Cordier gunning his own brand of justice clear to see,in the cold light of day.

Shot on location, Tavernier seeps the Noir mood with the grit and dry blood of the colony in elegantly held tracking shots following Cordier's descent into vicious contempt.Moving from the Deep South of Thompson's book,the screenplay by Bertrand Tavernier and Jim Thompson takes the racism over to deepest West Africa,where the horrific treatment Cordier and the whites lash out cover the screen in Noir vile. Filling Cordier's hands with dirty money that gets him to turn a blind eye,the writers brilliantly chip away at Cordier way of life and unveil a nihilism that Cordier is unable to drop back into the water and hide from the colony pop 1280.
73  Other/Miscellaneous / Off-Topic Discussion / Brit Noir:Contraband (1940)-With Link. on: April 17, 2017, 06:17:03 AM

Full film:

 https://www.youtube.com/watch?v=6hWV6cOHOyA

7

 *** This review may contain spoilers ***

Taking part in a poll on ICM for the best films of 1940,I started to look at lists for movies that came out in the year. Enchanted by their work since seeing the sadly underrated Gone to Earth,I was thrilled to discover a Powell/Pressburger work,which led to me covering the windows for a blackout on contraband.

The plot-

1939:

While Denmark remains neutral in the Phoney War-stage of WWII,Danish captain Anderson is surprised to receive an order from Lt. Commanders Ashton and Ellis to go to a British Contraband Control Port,so that an inspection can be carried out. Getting set to go ashore as the inspection is done,Anderson's pass (and boat) is taken by secret agents Mrs. Sorensen and Mr. Pidgeon,who set sail to give the government info that the Nazis want blacked out.

View on the film:

Known for the immortal nightmare image in The Cabinet of Dr. Caligari, Conrad Veidt gives a delicious performance as Anderson,with the romantic glances Anderson gives Sorensen allowing Veidt to show a romantic flamboyance with a real relish. Running with a dashing Esmond Knight as Mr. Pidgeon, Valerie Hobson gives an enticing performance as Sorensen. Coming faced to face with the Nazis,Hobson gives Sorensen a considerate thoughtfulness,that unrolls itself as Sorensen tries to get contraband under the Nazis noses.

Originally planned as a follow-up to The Spy In Black, the screenplay by co-writer/(along with Emeric Pressburger & Brock Williams) director Michael Powell sails on creepy Spiv espionage and playful Caper romance. Making their first title for the WWII effort,the writers present a surprisingly unsettling view of Britain,where Nazis and British spies lurk on every street waiting to spot a weakness. Staying away from going too grim,the writers give Sorensen a patriotic slickness that undermines every attempt from the boo-hiss Nazis.

Hitting the high seas with most of the crew from The Spy In Black,director Michael Powell & cinematographer Freddie Young cast a chilly atmosphere with thick smog allowing the contraband to be kept from the eyes of the enemy. Whilst being very early in the Powell/Pressburger relationship,Powell displays a remarkable confidence in smashing the budget/sets limit in an ultra-stylised manner,as shot statues,overlapping eyes and invisible ink notes reveal Sorensen's contraband.
74  Other/Miscellaneous / Off-Topic Discussion / Brit Noir:Yellow Canary (1943)-With Link. on: April 16, 2017, 05:57:00 AM

Hi all,I hope you are having a good weekend,and here is an Easter treat!

Full film:

https://www.youtube.com/watch?v=51wz67pab2M

7

** This review may contain spoilers ***

After an impressive run for most of 2016,I've been disappointed that the BBC have been showing less of the more obscure RKO creations. Taking a quick look at the film section on BBC iPlayer,I was thrilled to see that they had unearthed a rare RKO British Spy flick,which led to me getting this canary out of the pit.

The plot:

Going deep undercover for the British, blonde Sally Maitland boards a ship to Canada. On the ship Maitland meets Jan Orlock,who unknown to Maitland has been secretly sent to protect her. During the journey,the ship is stopped by a Nazi heavy cruiser that kidnaps Orlock,which leads to Maitland realising how deep in the pit of espionage this yellow canary is.

View on the film:

Flying in during the war,director Herbert Wilcox (who would soon get married to the star!) & cinematographer Mutz Greenbaum are unable to fully shake off the limitations of the times,with scenes in trains and chases being played out stage-bound instead of the great outdoors. Working within the limitations, Wilcox and Greenbaum display sharp eyes for building a Spiv atmosphere with stylised shots seeding doubt on who side Sally Maitland is on,from impressive tracking shots that go down every level of the boat,to overlapping shots following Sally's double dealing.

Partly based on the real Hitler devotee Unity Mitford,the screenplay by P.M. Bower/Miles Malleson and DeWitt Bodeen delivers a clear message of the British public needing to be on the lookout for Nazis in their midst. Following Wilcox's path,the writers cut through the propaganda with an impressive level of ambiguity Spiv Film Noir,via allowing Sally to swing the pendulum of trust between the Nazis and the British. Pulling the feathers in every scene, Anna Neagle gives a fantastic performance as Sally,thanks to Neagle subtly using facial expressions to give doubt over which side this canary sings for.

75  Other/Miscellaneous / Off-Topic Discussion / Re: Brit Noir: One Way Out (1955)-With link. on: April 15, 2017, 07:02:20 PM
Hi Jess,for Brit Noir I've discovered that someone has made an IMDb list of over 350 British Noir's:

 http://www.imdb.com/list/ls070730241/

And I've also found a book on the subject,that looks at over 300 Brit Noir titles:


British Film Noir Guide

https://www.amazon.co.uk/d/Books/British-Film-Guide-Michael-Keaney/0786464275


Morrison, a list of Brit Noir would be much appreciated.
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