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For five thousand dollars, I'm not afraid of anything, not even death! Among the Living is directed by Stuart Heisler and written by Garrett Fort and Lester Cole. It stars Albert Dekker, Susan Hayward, Harry Carey and Frances Farmer. Music is by Gerard Carbonara and cinematography by Theodor Sparkuhl. Dekker plays identical twins, John and Paul Raden. Paul was believed to have died when he was just 10 years old, in reality he had been traumatised and went insane and was locked up in a secret room at the Raden Mansion. When John returns for his father's funeral, he learns of Paul's existence, more so when Paul escapes and is out and about in Radentown... 1941 saw the release of Citizen Kane, The Maltese Falcon, High Sierra and I Wake Up Screaming. Films that mark an important point in the progression of what would become known as film noir, both thematically and as a visual style. Elsewhere there were some horror movies which would stand the test of time as classic productions, films such as The Wolf Man and The Black Cat are still massively popular today. Down in the lesser known file is Among the Living, a picture that blends both horror and noir for considerable rewards. It's a slice of Southern Gothic which nods appreciatively to classic horror conventions from the previous decade (eg: the Frankenstein connection is hard to ignore but handled skillfully), and it even has social commentary bursting forth from its seams, but it's with the photographic style where it becomes a must see for film noir enthusiasts. Heisler (latterly The Glass Key/Storm Warning) and Sparkuhl (also The Glass Key) shoot the picture by way of German Expressionism, where certain scenes and photographic compositions anticipate the noir style before it became the norm. From the feverish and frantic exuberance of a club scene, to a chase scene through menacing shadowed streets that end with murder, there are classy slices of noir before we even get to the crushing finale where Radentown is gripped by its own greed and insanity problems. Dekker is terrific, managing to give each twin their own identity without relying on costuming for the viewers to tell the difference. His man child portrayal of Paul is heartfelt and perfectly troubling, yet always tasteful. Hayward is socko gorgeous as a vampish nymph who latches onto Paul to feather her own nest, while Farmer provides the sort of solid support she was capable of before her own personal problems would derail her potential career. The psychological aspects of the pic are simplistic, of course, while viewing it now it's impossible to not get a sense of it being cliché heavy as regards the "twins" axis of plotting, but this is well paced, very well acted and beautifully photographed. If you can track down a decent print of it, then it's a must see for anyone interested in the influences and subsequent trajectory of film noir. 8/10
For five thousand dollars, I'm not afraid of anything, not even death! Among the Living is directed by Stuart Heisler and written by Garrett Fort and Lester Cole. It stars Albert Dekker, Susan Hayward, Harry Carey and Frances Farmer. Music is by Gerard Carbonara and cinematography by Theodor Sparkuhl. Dekker plays identical twins, John and Paul Raden. Paul was believed to have died when he was just 10 years old, in reality he had been traumatised and went insane and was locked up in a secret room at the Raden Mansion. When John returns for his father's funeral, he learns of Paul's existence, more so when Paul escapes and is out and about in Radentown... 1941 saw the release of Citizen Kane, The Maltese Falcon, High Sierra and I Wake Up Screaming. Films that mark an important point in the progression of what would become known as film noir, both thematically and as a visual style. Elsewhere there were some horror movies which would stand the test of time as classic productions, films such as The Wolf Man and The Black Cat are still massively popular today. Down in the lesser known file is Among the Living, a picture that blends both horror and noir for considerable rewards. It's a slice of Southern Gothic which nods appreciatively to classic horror conventions from the previous decade (eg: the Frankenstein connection is hard to ignore but handled skillfully), and it even has social commentary bursting forth from its seams, but it's with the photographic style where it becomes a must see for film noir enthusiasts. Heisler (latterly The Glass Key/Storm Warning) and Sparkuhl (also The Glass Key) shoot the picture by way of German Expressionism, where certain scenes and photographic compositions anticipate the noir style before it became the norm. From the feverish and frantic exuberance of a club scene, to a chase scene through menacing shadowed streets that end with murder, there are classy slices of noir before we even get to the crushing finale where Radentown is gripped by its own greed and insanity problems. Dekker is terrific, managing to give each twin their own identity without relying on costuming for the viewers to tell the difference. His man child portrayal of Paul is heartfelt and perfectly troubling, yet always tasteful. Hayward is socko gorgeous as a vampish nymph who latches onto Paul to feather her own nest, while Farmer provides the sort of solid support she was capable of before her own personal problems would derail her potential career. The psychological aspects of the pic are simplistic, of course, while viewing it now it's impossible to not get a sense of it being cliché heavy as regards the "twins" axis of plotting, but this is well paced, very well acted and beautifully photographed. If you can track down a decent print of it, then it's a must see for anyone interested in the influences and subsequent trajectory of film noir. 8/10
A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.
Story of a young woman who marries a fascinating widower only to find out that she must live in the shadow of his former wife, Rebecca, who died mysteriously several years earlier. The young wife must come to grips with the terrible secret of her handsome, cold husband, Max De Winter. She must also deal with the jealous, obsessed Mrs. Danvers, the housekeeper, who will not accept her as the mistress of the house.
Career criminal Johnny Clay recruits a sharpshooter, a crooked police officer, a bartender and a betting teller named George, among others, for one last job before he goes straight and gets married. But when George tells his restless wife about the scheme to steal millions from the racetrack where he works, she hatches a plot of her own.
After a whirlwind romance in Mexico, a beautiful heiress marries a man she barely knows with hardly a second thought. She finds his New York home full of his strange relations, and macabre rooms that are replicas of famous murder sites. One locked room contains the secret to her husband's obsession, and the truth about what happened to his first wife.
Jeff Bailey seems to be a mundane gas station owner in remote Bridgeport, California. He is dating local girl Ann Miller and lives a quiet life. But Jeff has a secret past, and when a mysterious stranger arrives in town, Jeff is forced to return to the dark world he had tried to escape.
A private detective takes on a case that involves him with three eccentric criminals, a beautiful liar, and their quest for a priceless statuette.
In 1920s Chicago, Italian immigrant and notorious thug, Antonio 'Tony' Camonte, aka Scarface, shoots his way to the top of the mobs while trying to protect his sister from the criminal life.
Private Investigator Philip Marlowe is hired by wealthy General Sternwood regarding a matter involving his youngest daughter Carmen. Before the complex case is over, Marlowe sees murder, blackmail, deception, and what might be love.
Having met on a train, a smooth-talking psychotic socialite shares his theory on how two complete strangers can get away with murder to an amateur tennis player — a theory he plans to test out.
A rich woman and a calculating insurance agent plot to kill her unsuspecting husband after he signs a double indemnity policy.
In postwar Vienna, Austria, Holly Martins, a writer of pulp Westerns, arrives penniless as a guest of his childhood chum Harry Lime, only to learn he has died. Martins develops a conspiracy theory after learning of a "third man" present at the time of Harry's death, running into interference from British officer Major Calloway, and falling head-over-heels for Harry's grief-stricken lover, Anna.