If jailed for false pretenses, when you finally get out of prison, what would you do? The premise of the engaging film noir thriller Cry Danger (1951), made by former child star and first time director Robert Parrish (it is also said Dick Powell was quite involved in the film’s directing), one thing’s for sure, it’s about as hard boiled as you can get. Dick Powell (Murder, My Sweet) plays understandably rough around the edges Rocky Mulloy – a man who was falsely fingered in an armed robbery case that led to a murder.
If jailed for false pretenses, when you finally get out of prison, what would you do? The premise of the engaging film noir thriller Cry Danger (1951), made by former child star and first time director Robert Parrish (it is also said Dick Powell was quite involved in the film’s directing), one thing’s for sure, it’s about as hard boiled as you can get. Dick Powell (Murder, My Sweet) plays understandably rough around the edges Rocky Mulloy – a man who was falsely fingered in an armed robbery case that led to a murder.
You know you’re in the swinging sixties circa 1969 when the powers that be override the director and change the title of the film in its native Italy from Paranoia to Orgasmo. Keeping the original title for the American release, this Umberto Lenzi directed and Carroll Baker starring giallo becomes all the more confounding when considering that the film maker’s next feature also stars the same leading lady... and it is decided that it will be called Paranoia – leading to much confusion to this very day. The first of four movies the pair would make together in just a short four year period (all of which are reviewed on Filmizon.com), Orgasmo (aka Paranoia) follows seven week widowed alcoholic American socialite Kathryn West (Baker) as she flees the media attention in her native country, settling in picturesque Italy – where her lawyer (who also manages all of her assets), Brian Sanders (Tino Carraro), has found her a relaxing villa to stay in.
Guillermo del Toro’s first foray into the realm of film noir, 2021's Nightmare Alley brings all of the Golden Age classic charm of the Studio System along with a classic pulpy story (based off of the novel of the same name by William Lindsay Gresham... as well as the 1947 movie adaptation), which is then fused with his own unique visual style. Following Stanton Carlisle (Bradley Cooper), a drifter, or is it grifter (after all, this is a neo-noir), with a dark past, he aimlessly stumbles upon a traveling carnival... taking a day’s work, he soon after accepts an offer from owner Clem Hoatley (Willem Dafoe) to join the team – seeing it as the perfect way to disappear from his secret history.
Reveling in the motifs of Edgar Allan Poe, think madness/insanity, a haunting location, the double, the uncanny, and maybe even death, Guillem Morales (Julia’s Eyes) explores the recesses of the mind in his directorial debut (he also writes the screenplay), The Uninvited Guest (2004). Who knew a four-thousand square foot home could be so claustrophobic. Félix (Andoni Gracia) finds himself alone in the weeks following the break-up from his longtime wife, Vera (Mónica López). With her having moved into a tiny three-hundred and fifty square foot apartment, it baffles Félix’s mind... unable to comprehend how anyone could downsize so drastically.
The heat can make us all go a little bit crazy sometimes... but what happens when the thermometer is ready to pop and you’ve just escaped from the insane asylum? A confined, claustrophobic, sweltering film noir, 1950's Dial 1119, directed by Gerald Mayer (son of Louis B. Mayer), makes you feel the heat. Young, baby faced Gunther Wyckoff (Marshall Thompson) isn’t what he looks, he is, for lack of a better term, bonkers. Having already killed numerous people, it was police psychologist Dr. John Faron (Sam Levene), who was able to save his life from the electric chair.
Picking up several years after the original feature, Don’t Breathe 2 (2021) flips the script, with co-writers Fede Alvarez and Rodo Sayagues (though this time the latter takes over directing duties), placing the audience in the shoes of The Blind Man (rather than those who attempted to rob him in the genesis film). . . following him into a most intense scenario. In a wild, bold, and arguably controversial maneuver, Alvarez and Sayagues attempt to transform the sinister former veteran from the previous movie into something akin to an anti-hero – within the narrative, themes of rebirth and redemption can be found. Now a ‘father’ to his ‘daughter’, Phoenix – no subtlety there (Madelyn Grace), The Blind Man is now humanized with a real name, Norman Nordstrom (Stephen Lang). No spoilers on her backstory.