The MoFo Top 100 Film Noir Countdown

Crossfire is #15 on my list. Robert Mitchum and noir went together like peas and carrots, didn't they? A short writeup:

This is a very good post-World War II whodunit noir about American soldiers who are implicated in the murder of a Jewish man. It has a flashback structure reminiscent of Rashomon's that flits between the investigation and the events leading up to and following the murder that deftly ramps up the uncertainty and tension. Speaking of uncertainty, the movie successfully captures the vibe of a country that is reckoning with its wartime actions and is not sure what to do next. All of the performances are strong, the standout being Robert Young's no-nonsense detective. Robert Mitchum fans may be disappointed because he has minimal screen time (it's not a spoiler for me to say so), but fans of noir, murder mysteries and/or stories about the dangers of prejudice are bound to enjoy it.

Can't find my Crossfire review but I remember liking it. The Big Combo is my #29 it's one of those originators, laying the blueprint for future noirs. It also stars the immortal villain Richard Conte, never forget kids; "It was Barzini all along."



SEEN 20/50
BALLOT 4/25

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As we wrap up the bottom fifty, a pair of my choices…



The Big Combo was my number twelve pick. Many montages or book covers about Film Noir use one foggy image to encapsulate the genre’s visual aesthetic, and it is one of the closing images of The Big Combo, shot by John Alton, of two figures in an airplane hanger with a heavy fog rolling outside. The journey to get to that conclusion is a fun one with Cornel Wilde’s cop trying to bring down notorious gangster Mr. Brown (Richard Conte) and his crew, including Brian Donlevy as his second in command, and Lee Van Cleef and Earl Holliman playing a couple of hitmen who really like each other (the model for Peckinpah’s hitmen in Bring Me the Head of Alfredo Garcia a generation later). And of course there’s a dame. There’s always a dame (Jean Wallace). The dialogue ain’t the best in all of Noirdom, but the stylized tough guys and shadows, the secrets and jazz and tommy guns, it’s too damn fun to resist. “Go ahead: kill me, Copper! Kill me!”

Number twelve means fourteen big points from me.









The Big Combo was toward the end cycle of Classic Noir, a low budget entry lovingly embracing all of the genre trappings, while Crossfire is one of the masterpieces that established those tropes and themes, it even wound up with some high-profile Oscar nominations, including for John Paxton’s script, Gloria Grahame as Best Supporting Actress, Best Supporting Actor for the wonderful Robert Ryan in his breakout role, and even Best Director (Edward Dmytryk) and Best Picture! While Crossfire didn’t win any of those Academy Awards, ironically beaten by Gentleman’s Agreement which has similar themes minus the murder plot, it was one of the few from the genre that was seen as a high-quality drama by the industry at large. A soldier is murdered, and it becomes clear the motive was the hatred of antisemitism. Roberts Ryan, Young, and Mitchum excel.

I squeezed it in as my twenty-fourth pick, but I couldn’t keep it off of my ballot.



HOLDEN'S BALLOT
3. Too Late for Tears (#81)
12. The Big Combo (#52)
13. Phantom Lady (#69)
14. Born to Kill (#84)
18. He Walked By Night (#88)
19. Fallen Angel (#80)
22. Panic in the Streets (#98)
24. Crossfire (#51)
25. The Crimson Kimono (DNP)

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Been forever since seeing Big Combo. I want to see it again but it didn’t leave an impression at all.

Crossfire was one of my last watches, and I was thrilled I got to it. Thought it looked fantastic and the story was great. Maybe my favorite Ryan performance. If not close. I put it at 15.

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Crossfire was #24 on my ballot. Though I like some noirs more than it, I warmed up to it some more in retrospect.

I haven't seen The Big Combo.

A couple of classic film noirs with no debate on this classification here, with great casts and enough moody atmosphere but neither made my list.

So that's the first 50. Pretty good so far. I think I've seen 30 or so and have added quite a few to my watchlist. I've only had one film from my list show up so far but I kind of think my remaining 24 are going to place. We'll see. The top 50 awaits us!

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How I do love Countdowns and the fast-growing watchlist they invoke!

86 Angel Face (1952) I'm always down with watching Robert Mitchum, but, migod, the look Jean Simmons does at the end that Mitchum misses is the price of admission. It's an excellent "holy sh#t" moment.

83 All The King's Men (1949) I think Crawford was pretty ideal playing the boisterous Willie Stark, who was a literary figure mirroring the Louisiana Governor Huey Long. A Hick from the Sticks fights his way into the seats of the corrupted men running things so that he can be the man in charge.

Next on the Rectification List

81 Too Late For Tears (1949) Seeing @Holden Pike placing this at #3 on his List, I knew it was going to be a hidden gem, and it was. Having seen Lizabeth Scott with Bogie in Dead Reckoning before finishing my List I would have happily found a spot for this had I done the same. Holden metions in his review that Scott did not care for doing the role in TLFT that she utterly nailed. Ruthless, wreckless, and scheming, her resolution to keep the money no matter what was an amazing spiral to witness. I loved seeing Dan Duryea playing a more confident role than the usual weasel, and then Scott's femme fatale tears him down. Damn fine noir!

78 This Gun For Hire (1942) The pairing of Veronica Lake and Alan Ladd is a very fun noir. Though it was not on my List, I am very happy to see it here.

76 Dark Passage (1947) Unsure why, but the first-person POV of the first part of this solid Bogie & Bacall noir never quite set with me. Strange.

74 The Blue Dahlia (1946) Another Lake and Ladd noir. You cannot go wrong.

70 Drunken Angel (1948) Being Kurosawa, the compositions were intoxicating to witness. Also, being Kurosawa, the master of exposition of the human condition with two of his best-used repeated actors, Takeshi Shumira and Toshirô Mifune, the story of a drunk/angry doctor and the upstart gangster dying of TB and the colliding personalities in a small, putrid village is an excellent watch.

68 Spellbound (1945) Dr. Alex Brulov: Women make the best psychoanalysts until they fall in love. After that, they make the best patients.
I loved the man's witticisms in this.

Coming in at #16

66 Where The Sidewalk Ends (1950) With Otto Preminger at the helm, Dana Andrews plays a volatile cop who tries his best not to be like his old man, a dirty cop. Quick to anger, he can't help but slip further while, with equal anger, fighting his way out of the spiral. The exquisite Gene Tierney is the love interest with a violent gangster of a husband. Everyone is looking to use everyone, and the stakes are getting higher and higher.


64 To Have And Have Not (1944) This is a heart-breaking cut from my List with one of my lifelong crushes, Lauren Bacall. I've seen this numerous times throughout my life, and if not for the several Bogie films already on my List, it would have, should have, been included.

63 Bob Le Flambeur (1956) In the vein of the typical gambler who commits a Heist at a High Stakes Casino, Bob (Roger Duchesne) is not the typical degenerate, deep-in-the-hole loser. He's actually pretty d@mn f@ckin good at it. He's habitual. EXCEEDINGLY habitual. He doesn't owe big, but Bob gets a crew together to stage safe cracking during an armed holdup after one night of losing his high winnings.
Bob's charming style and class extend to everyone else in this film without losing the tension or impending menace. And, of course, a befitting, quite entertaining, excellent ending for this Melville classic film brimming with class and style.

Coming in at #10

61 Act of Violence (1948) Frank (Van Heflin) has a perfect life: a really wonderful wife, Edith (Janet Leigh), and a baby boy. He's a war hero and a successful businessman that everyone likes.
But, ya see, during the war, in a POW camp, Frank made a mistake. We all make mistakes, right? Well, it was a pretty hefty one, and Joe (Robert Ryan) is coming to kill him for it.
With a cast that, along with those mentioned, includes Mary Astor playing a drifter who finds Frank at his worst and tries, in vain, to help. Phyllis Thaxter plays Joe's girlfriend, Ann, who tries and tries to dissuade Joe from this hellbent vengeance.
Along with all the cinematic shadowing and twisting roads of excellent noir, we are also treated with not only the tormented "prey" (Heflin) but also the tortured "hunter" (Ryan) as the chase draws to a close. Both men are haunted by what happened and how this will have to end.


Coming in at #23

60 The Naked City (1948) Even with its terrible Narration that sounded like those Educational Films from grade school, this really is a good noir from the police perspective. There are some great shots on location, which was pretty new at the time. I absolutely loved Barry Fitzgerald as the leading Homicide detective.

59 Kiss of Death (1947) With a lousy actor that can be a fun romp to watch, Victor Mature, and for me, the real highlight in this, like numerous films I've seen him in, is Richard Widmark playing what he plays best: an utter psycho-f@ck

Next on the Rectification List


53 Kansas City Confidential (1952) What's that? A rectification when it was just announced? Um, yes, actually. This was one I needed to see, didn't and watched after the Countdown had begun. And yes, it would have found a spot or d@mn near on my vote.
With both Jack Elam and Lee Van Cleef rounding out the hired thieves whos' identities are hidden from one another, including the one masterminding it in a snatch-and-grab heist involving an armored truck. The successful job has only one hiccup. A flower delivery man with a record is snatched up because of the similar van used in the robbery. Pissed off and getting jerked around by the cops that arrested him, he goes after the crew to get his share for his troubles.
The twist/reveal at the end was one I was hoping for while viewing this, and I'm sure it surprised the original movie theater audience.

The Big Combo sounds VERY familiar, but then, so many noir films do that I thought I'd seen but were other films. Definitely one for the watchlist, that's for sure. If for anything, to see if I did really see it and if so, a great rewatch.

51 Crossfire (1947) While the hate motive has been changed from the book, from a homosexual to a Jewish man, you can still see the original scenario should you find yourself looking for it. And for me, it belongs to this story far more as it plays out. The characters, their actions, and how they interact with one another. It is more cohesive. Without it, I see the incorrect fitting of a "replacement" hatred that causes me to pause and wonder what exactly is going on and why it doesn't seem to fit together.
But that is a minor critique and easily rectified by a simple mindset of what it should be as opposed to what the Studio/Hays Code insisted upon.
Making for what this truly is, a d@mn good story that delves into what people felt and think as opposed to a basic mystery whodunit. Bringing an added depth to -- well, everyone. Many of them are world-weary of the hardships they've endured, creating not so much a callousness but a preference to be left out of more hardship. The hatred that led to the murder shook loose the tired, indifferent fog of those involved in the investigation. Reviving and giving people purpose. You see it most in Robert Young's Finlay. His indifference to yet another senseless death becomes a determined focus as he sets his sights on who is guilty and ensures they have him dead to rights.




Watched 21 out of 52 (40.38%)
1.
2.
3.
4.
5.
6.
7.
8. Panic In The Streets (1950) (#98)
9.
10. Act of Violence (1948) (#61)
11.
12.
13.
14.
15.
16. Where the Sidewalk Ends (1950) (#66)
17.
18.
19.
20.
21.
22. Body and Soul (1947) (#94)
23. The Naked City (1948) (#98)
24. Dead Reckoning (1946) (#95)
25.


Rectification List
Stranger on the Third Floor (1940) (#92)
Too Late for Tears (1949) (#81)
Kansas City Confidential (1952) (#53)

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1 for 2. The Big Combo is another one I've never heard of. When this is over I'll have to go back and compile a list.

I did watch Crossfire though. Great ensemble cast with Robert Ryan portraying yet another thoroughly repellent character. And I know Robert Mitchum has second billing but he really isn't in the movie that much in a mother hen type role. It's actually Robert Young that turns in a bravura performance as the shrewd and world-weary investigator Captain Finlay.

24 of 50 seen.

Two more great noirs make the countdown today. Neither made my ballot though I do like both. Previously I wrote:

This had a French noir feel about it, in both the way the characters were written and in their dialogue and in the way the story was constructed too. I liked that none of the actors dominate their roles by being 'movie stars'. Everything is kept even keeled and balanced. The on location city shooting gives the film even more of that reality feel. The Big Combo is one of the best examples of stylish noir cinematography. It oozes ambiance, set by the dramatic dark shadows, the low key lighting and dramatic compositions, like the one I used above.

These are two films that, as a film noir fan, I feel I should've already seen. Shame on me.


SEEN: 8/50
MY BALLOT: 4/25

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Now I am pretty sure I have seen the Big Combo. I remember seeing a black and white noir with Cornel Wilde in it like a million years ago. But I only really remember the ones I have seen multiple times. So of course, it is not on my list. Crossfire is not on my list either. I tried to watch it, a short while ago. But things came up, and I never finished it.

Seen both of these. The Big Combo sneaked onto my list at #22. It's very noir.


I didn't care much for Crossfire but everyone else seems to love it so I'm probably wrong.

I wasn't the biggest fan of Crossfire the last time I seen it which was many years ago.

The Big Combo (1955)

Directed by Joseph H. Lewis (Gun Crazy), and with an impressive if eclectic cast featuring Cornel Wilde, Richard Conte, Brian Donlevy, Jean Wallace, Robert Middleton, LeeVan Cleef, Earl Holliman, and Helen Walker, this is a great example of later film noir. In fact it could be said that John Alton’s excellent dark cinematography makes this one of the chief examples of noir.

The final scene with Wallace and Wilde in silhouette at a foggy airport must rank up there with classic noir frames, it’s impression as lasting as the iconic poster of Max Von Sydow standing outside the house in The Exorcist.

The plot, although with a nice twist, is rather tortured, and insures its “B” status, although it represents the highest level of that group. The dialogue is quirky, almost erratic, which tends to cover up the banality of the narrative.

Wilde does journeyman work with a role that is not given the chance to develop. But the character parts are the most alluring here. The ladies all sizzle right off the screen. Helen Stanton as the stripper was a doll. Her career was too short. And this was Helen Walker's final film.

Earl Holliman shined as the inept henchman (the following year he was to appear in George Stevens' Giant), and of course Van Cleef was at his most intimidating. Brian Donlevy played against type in his role as an intimidated consigliare to Conte's "Mr. Brown".

The picture is definitely worth a watch, especially for its noir elements, and the excellent cast.

Crossfire(1947)

Directed by the inestimable Edward Dmytryk, and starring the 3 Roberts (Young, Mitchum, Ryan) along with the always fascinating Gloria Grahame, the film is a complex whodunit with noir treatment by cinematographer J. Roy Hunt.

John Paxton wrote the screenplay based upon the novel The Brick Foxhole written by Richard Brooks. In the book the object of murder was a homosexual. But since homosexuality could not be mentioned in 1947, the unfortunate character was switched to Jewish. In that way the premise was somewhat weakened, since Jews were not heavily ostracized to the degree that homosexuals were. The comparatively gentler prejudice that Jews received at the time was showcased in Gentleman’s Agreement, released later that year.

Nonetheless, starting with a somewhat shaky premise did not hurt the film’s power, which was predominantly provided by its actors, direction and photography. Robert Young was especially effective somewhat against type, playing a semi-hardboiled police investigator. His continual pipe smoking actually served to soften his character, giving him more of a fatherly or professorial image.

Robert Ryan on the other hand registered a powerful performance of a near sadistic, dominant bully type-- a role which would more or less pigeonhole him for the rest of his career. Mitchum was his silky self in a portrayal of an honest concerned everyman soldier who simply wants to get to the truth. And Gloria Grahame played a tramp who is finally convinced to tell what she knows.

Crossfire is not in the highest ranking on my list of personal favorite noir pictures, nor in general are films which prominently feature aggressive bully types. Still this is a well done memorable picture with notable themes and performances, and is an essential example of top mystery film making from Hollywood’s golden era.

My entries thus far....

10 Mr. Arkadin (#79)
13 The Blue Dahlia (#74)
14 The Woman in the Window (#65)
16 Fallen Angel (#80)
19 Where the Sidewalk Ends (#66)
21 D.O.A. (#54)
24 On Dangerous Ground (#62)

Those are some tasty entrees Veronica Lake, Joan Bennett, Alice Faye, Ida Lupino and not forgetting Pamela Britton who was quiet enduring in D.O.A. I use to like her in My Favorite Martian as a kid. I was a kid that is, she was the next door neighbor.

Stats: Pit Stop #5

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After hitting our fifth pit stop (50), here's were we are now:

Yearly Breakdown

• 1940 = 2
• 1941 = 0
• 1942 = 1
• 1943 = 1
• 1944 = 5
• 1945 = 2
• 1946 = 3
• 1947 = 6
• 1948 = 9
• 1949 = 3
• 1950 = 6
• 1951 = 2
• 1952 = 2
• 1953 = 3
• 1954 = 0
• 1955 = 3
• 1956 = 1
• 1957 = 0
• 1958 = 1
• 1959 = 0

1948 continues to pull ahead, but a strong showing from 1947 in this batch puts it and 1950 close behind it.


Repeating Directors

• Henry Hathaway = 3
• Otto Preminger = 3
• William Wyler = 3
• Nicholas Ray = 2
• Jules Dassin = 2
• Fritz Lang = 2
• John Cromwell = 2
• Robert Rossen = 2
• Robert Wise = 2

Three directors – Hathaway, Preminger, Wyler – sit at the top of the group with three entries. A couple more – Jules Dassin and Nicholas Ray – joined the group in this last batch. Who else will come up twice or more?

Sure, the name of the movie is Perfect Match (2015), and I knew right away what it was because it starred this lovely creature, Danica McKellar:



Well, I got another two-fer! I watched The Big Combo and it's one I watched specifically for this Countdown and I'm glad I did. Super noir film, with everyone doing a great job. Cornell Wilde is fine as the policeman who wants bad guy Richard Conte badly, with Conte super-confident that nothing can stop him. Lee Van Cleef and Earl Holliman are great as the two henchmen of Conte that make sure nothing will stop their boss. I really dug the performance of Brian Donlevy playing the cowed former boss of the town who simply rolled over when Conte took the reins. As has been said, lots of Noir atmosphere in this movie and one my favorite moments is when a deaf person is mowed down by machine guns, and we see from his point of view, with the muzzles flashing and no sound coming out. Brilliant scene. This was the first film where I really noticed Helen Walker, who plays a mystery woman that might help Wilde's endeavors. Walker was a luminous beauty and looking through my Countdown list I realize I have another with her on it so I have seen her before, plus I've seen a couple since the Countdown started that have her featured. Love this lady. This was my #4.

Crossfire is my #25 and I really liked the three main stars, especially (like almost everyone) Robert Young. I've seen him play strong types in quite a few films and he does a super job here. Not to take anything away from Robert Ryan and Robert Mitchum. I wonder how many films on this Countdown that Ryan and Mitchum will end up being stars in, and of the two, who will beat the other one out? It should be tight!

#4 The Big Combo List Proper List Proper #52
#6 Kansas City Confidential List Proper #53
#14 Kiss of Death List Proper List Proper #59
#15 He Walked By Night List Proper #88
#16 The Naked City List Proper #60
#22 This Gun For Hire List Proper #78
#25 Crossfire List Proper #51

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2. The Desperate Hours (1955) #71
9. The Letter (1940) #72
15. Spellbound (1945) #68
20. Niagara (1953) #56
21. To Have and Have Not (1944) #64
23. All the King's Men (1949) #83
25. Crossfire (1947) #51


I whiffed on Gaslight. Definitely would have voted for it over some of these. Other than They Drive By Night from the one-pointers, I think that's the only other one I've seen.