Thematically, film noir frequently centered on portrayals of women of questionable virtue—this had become rare in Hollywood post the pre-Code era. Double Indemnity, directed by Billy Wilder; setting the mould was Barbara Stanwyck’s unforgettable femme fatale, Phyllis Dietrichson. This series will explore the work & influences of directors & writers, including Nicholas Ray, Jules Dassin, Robert Siodmak, Fritz Lang, Edward Dmytryk, Orson Welles, Raoul Walsh, Jacques Tourneur and many more.
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Private eye arrives as a noir counterpart to the femme fatale in the form of 1944's "Murder, My Sweet", with Dick Powell as Philip Marlowe.
Private eye arrives as a noir counterpart to the femme fatale in the form of 1944's "Murder, My Sweet", with Dick Powell as Philip Marlowe.
With film noir in full flight, a slew of now-renowned noir 'bad girls' take centre stage, from Rita Hayworth in Gilda to Ava Gardner in The Killers.
With film noir in full flight, a slew of now-renowned noir 'bad girls' take centre stage, from Rita Hayworth in Gilda to Ava Gardner in The Killers.
Revisit the birth of film noir in the early 1920s, paving the way for stars like Barbara Stanwyck to grip audiences with 1944's Double Indemnity.
Revisit the birth of film noir in the early 1920s, paving the way for stars like Barbara Stanwyck to grip audiences with 1944's Double Indemnity.
Thematically, film noir frequently centered on portrayals of women of questionable virtue—this had become rare in Hollywood post the pre-Code era. Double Indemnity, directed by Billy Wilder; setting the mould was Barbara Stanwyck’s unforgettable femme fatale, Phyllis Dietrichson. This series will explore the work & influences of directors & writers, including Nicholas Ray, Jules Dassin, Robert Siodmak, Fritz Lang, Edward Dmytryk, Orson Welles, Raoul Walsh, Jacques Tourneur and many more.
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