1. A terrific trio of trenchant reviews, examining three more celebrated noir vehicles. I haven’t seen the second one, SUSPENSE, but know Tuttle’s work from THIS GUN FOR HIRE. As it is, you were obviously less impressed with that one of the three, despite your acknowledgement that Strauss is a wizard of expressionistic lensing. Just recently saw Strauss’ work in THE GREAT DICTATOR on the big screen.

    Once again Musuraca and Webb collaborate on a memorable 40’s feature, though with THE FALLEN SPARROW they’ve crafted one of their finest. Beautifully written capsule, which astutely establishes the noir underpinnings and that striking John Garfield performance.

    Then there’s Anthony Mann, whose early years were noted for his successes in noir in the string of gems you note in your lead-in. I must say I do agree that some of the plot is partially implausible. But it’s a riveting thriller, superbly paced, written and acted, and as you highlighted earlier this week, that one famous scene is brilliantly lit and choreographed. Burr is deliciously despicable too. I look forward to more on the Mann noirs.

    Magnificent round-up.

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