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1940s mystery movies

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(Disney scrapped a portion of the Rite of Spring sequence that showed the discovery of fire out of concern that it would provoke angry Creationists; but biologists, paleontologists and astronomers, for example, were consulted.) The film is about more than prickly mother-daughter relationships, of course, specifically the murder of Mildred’s second husband. —A.G. Ray Milland, Charles Laughton, Maureen O'Sullivan, Stuart Heisler Trevor Howard, Alastair Sim, Megs Jenkins, Frank Tuttle We should, however, think not of Welles but of Carol Reed, The Third Man’s bizarrely under-sung director, who fought for Welles’ casting as the shockingly amoral Harry Lime, ensured that the film would be shot on location in Vienna, and fused its aesthetic with expressionist flair, using light and shadows in ways that at the time had yet to be attempted (and which since have yet to be as stunningly replicated). —J.V. The American occupation whitewashes and corrupts Japanese culture in equal measure, and Drunken Angel captures it all with deft humanism. Out of the Past’s cheerlessness towers from the shoulders of its cast, a coterie of acting giants each at the top of their game. Starring: Late Spring isn’t about American control of Japanese territories in the 1940s; rather, it’s about a father and daughter going about their business within that world, a film that honors minutiae and celebrates the mundane with superlative grace. Honorable Mentions: Searching (2018) A Simple Favor (2018) Wind River (2017) Inherent Vice (2014) Sherlock Holmes (2009) Primal Fear (1996) Scream (1996) Blow Out (1981) The Conversation (1974) Murder On The Orient Express (1974) In The Heat Of The Night (1967) Diabolique (1955) The Big Sleep (1946) —Bonnie Stiernberg. Starring: Which may be screenwriters Ruth Gordon and Garson Kanin’s funniest joke: Adam’s Rib is about how men and women are equal only in how equally terrible they can be to each other. My 25 personal favorite murder-mystery movies I have ever seen. —A.G. Top 100 Movies of the 1930's. —A.S. Greed is not good. This monothematic approach underscores the characters’ shared fascination with this dead (or is she?) —A.G.  •   Based on the Pulitzer Prize-winning novel by Robert Penn Warren, derived almost wholesale from the outsize life of Louisiana governor Huey Long, Robert Rossen’s All the King’s Men, despite its expansive scope, wastes no time in plunging its seemingly idealistic characters into the deep morass of moral gray. One of the many interesting things about Casablanca is its epic durability – the story feels as fresh and real today as it did in 1945. From here, Siodmak and his screenwriters (which included future legendary directors John Huston and Richard Brooks) weave a fascinating story that, while not always the most inspired, more than picks up the slack with the help of dynamic performances and some tensely directed set pieces. It was always a fantastic film; a tale of sadistic psychological torture, murder and greed. List of thriller films of the 1940s. This is at once classic Howard Hawks and quite emotionally driven compared to many of his films. (Hint: It weaponizes.)  •   It’s possible that Welles’ inventiveness was partially forged by the constraints under which he found himself working on all of his early films.  •   Even Veda is contemptuous of Mildred for daring to have the moxie to have it all. The bookending set pieces, shot on location in industrial California, pulse with realism. The story commences with two assassins entering a small-town gas station and executing “The Swede” (Burt Lancaster), a former professional boxer. John Huston’s treasure-hunt adventure is less about mining gold than mining the human psyche through action and distrust and conflict. If you’re a fan of the screwball niche of comedy filmmaking, you have to know Sullivan’s Travels, one of the best examples of its category; screwball movies aren’t simply about zaniness but energy, inertia, momentum, the snowballing power of a silly premise when backed by an intelligently designed madness. Hilariously acted and expertly filmed, His Girl Friday derives much of its comedic impact from the incredibly clever and lightning-fast banter of the characters.  •   At the same time, screwball comedies proliferated. A romantic drama with political tones and a ton of wit, it features superb performances by Humphrey Bogart and Ingrid Bergman, Peter Lorre, Sydney Greenstreet, and Paul Henreid (for starters). The earliest mystery films reach back to the silent era.The first detective film is often cited as Sherlock Holmes Baffled, a very short Mutoscope reel created between 1900 and 1903 by Arthur Marvin.It is the earliest-known film to feature the character of detective Sherlock Holmes, albeit in a barely recognisable form.. Starring: Akira Kurosawa shoots every scene in the pursuit of making his audience swelter, yanking us into the frame and effectively immersing us in his neorealist depiction of Tokyo. It was the film where the young starlet met director Vincente Minnelli, her future husband and father of Liza, and it’s a formative production in the history of the American musical in general.  •   Widely regarded as one of the finest ghost stories of the ’40s, The Uninvited carries itself with a dignity not seen in most Universal monster movies or Poverty Row cheapies. An act of genre deconstruction and muted political critique all in one. When the pastor’s son (Preben Lerdorff Rye) from his first marriage returns home, Anna is smitten, and the two carry on a clandestine love affair amidst a time in which every action, however benign, can be dissected to reveal supernaturally nefarious doings. It is impeccable in every sense. Thriller films; By decade; Pre-1940s; 1940s; 1950s; 1960s; 1970s; 1980s; 1990s; 2000s; 2010s; A list of thriller films released in the 1940s. Humphrey Bogart, Lizabeth Scott, Morris Carnovsky, W.S. This neo-realist film is has been considered by many to be “the greatest film of all time.” It received a special Academy Award for Most Outstanding Foreign Film several years before the category officially existed.  •   —A.G. Ray Milland, Marjorie Reynolds, Carl Esmond, Richard Thorpe —J.V. James Stewart, John Dall, Farley Granger, Based-on-a-True-Story  •  Based-on-Theatre  •  Crime Drama, Jacques Tourneur Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight. Orson Welles was only 24 when he made this cinematic masterpiece-his first feature, and considered by many to be the greatest film of all time-a rather chilling portrait of an enigmatic, narcissistic newspaper tycoon.  •   Just watch the visual motif of that boudoir introduction recur in the “Put the Blame on Mame” musical number-turned-striptease. And it’s a beautiful kind of strangeness. It’s one of those films that really send you to another dimension. Deanna Durbin, Ralph Bellamy, David Bruce. Observe the recurring image of the bubbling muck that serves as one of the film’s central locations. Like most of Hitchcock’s work, what makes it truly spooky are its relatable themes—in this case, living in someone else’s shadow and worrying that a loved one’s hiding something.  •   Ray Milland, Ruth Hussey, Donald Crisp, Based-on-20th-Century-Literature  •  Drama  •  Ghost Film, Henri-Georges Clouzot That this cherubic plebian finds public success only through discarding his teetotaling tendencies and becoming a much-loved, bloviating alcoholic is about as clear as the film can get with its fatalistic feelings toward American politics: They’ve always been this polluted, and that will never change. The Wizard of Oz gets more populist attention, but Meet Me in St. Louis is the best Judy Garland musical by an easy margin. —A.G. We must start with the movie that revitalized the Whodunit genre, and honestly maybe the best Whodunit film of them all. Broadly considered to be one of the greatest of the genre, Red River is the story of the first cattle drive down the Chisholm Trail and the film that made director Howard Hawks exclaim “I didn’t know the big son of a bitch could act!” The big son of a bitch was John Wayne, who stars as Tom Dunson, a stubborn and conflicted man on a mission to start a cattle ranch in Texas. A collection of eight short pieces intercut with live-action intros by Deems Taylor, Fantasia is set to classical music conducted by Leopold Stokowski, mostly with the Philadelphia Orchestra. The violent, stylized set pieces are as visceral as the verbal confrontations.  •   The second World War was, of course, a heavy thread through the first half of the decade, providing fodder for stories on the one hand and on the other, a desire for the escapist balm of comedies and musicals. Orson Welles’ third feature film was the first to feature documentary footage of the Holocaust. While there he befriends an undercover fed (Edmond O’Brien, whose other noirs include The Hitch-Hiker) bent on nailing him for greater crimes. Mysterious, rich in feeling, deliciously creepy, and with jewel-tone supporting performances by Angela Lansbury and Joseph Cotten, it was a great psychological thriller in its day and it remains one now. William Wyler directed this adaptation of a stage drama by Lillian Hellman, who also wrote the screenplay. The Top 10 Mystery Movies of the 1940s; The Top 20 Mystery Movies of the 1940s; The Top 50 Mystery Movies of the 1940s; The Top 100 Mystery Movies of the 1940s; The Top 250 Mystery Movies of the 1940s; The Best Horror Movies Of the 1980s; The Best Science Fiction Movies of 1977; The Best Comedy Movies Of the 2000s; The Most Recently Released Movies It’s a story of the malignancy of lust for wealth, and if you’re looking for a happy ending, this movie’s not your go-to; Davis ends up very, very alone. Smart, sweet, and witty; probably the quintessential film of the 1940s, and one of the best feel-good movies of the 20th century. When Dr. Anthony Edwardes (Gregory Peck) takes over as director of the hospital where the remote and emotionally null Dr. Constance Petersen (Ingrid Bergman)  works, Petersen quickly realizes something is amiss with Edwardes, and it quickly comes to light that he isn’t Edwardes at all and that he is suffering amnesia. It not only dominates the background music, but it pops in in the narrative of the film—it’s the record on the phonograph; it’s the song the band is playing at the coffeeshop; it’s playing at the journalist’s party. His first feature, Citizen Kane earned him the ire of the influential media mogul William Randolph Hearst. Dorothy McGuire, George Brent, Ethel Barrymore, Based-on-20th-Century-Literature  •  Drama  •  Film Noir, Joseph L. Mankiewicz Starring: (Sadomasochism much?) When that didn’t work he had Welles thoroughly libeled in all his papers.) Brian Donlevy, Alan Ladd, Richard Denning, Fritz Lang  •    •   So, yeah­­-come for the psychopathology lesson, but stay for the stunning “God’s-eye” style direction by Cuckor (no unreliable narrators here! Stefan, the pianist (Louis Jourdan) is remarkably clueless, and, reading the letter as he’s preparing to leave town to evade a duel, follows Lisa through a series of flashbacks starting when she was 14, progressing through an episode where they’d had a brief tryst, to her marrying someone else and giving birth to Stefan’s child, to him trying to seduce her at a chance encounter without realizing she was the same woman, to their child’s death from typhus, which is threatening to carry her off as she writes the letter. The choice to play both the tyrant and the oppressed man was an inspired one, underscoring the frightening but inescapable truth that we all contain a little bit of both characters. The real Dr. Edwardes is missing and feared dead. This story’s been with us since the 18th century and rendered in countless iterations, so I’ll forego the plot summary and just say that from the fourth-wall-breaking preamble in which the director entreats the audience to approach the film with inner-child-forward faith in the magic of fairy tales, to the end, this film remains a treasure of subtle imagery and mesmerizing music, baroque opulence, sexual intensity and total indulgence in fantasy. Kindler has has moved to a small New England town and married the daughter of a Supreme Court Justice, teaches at a prep school—essentially has erased every possible trace of his former identity, save one: a longtime obsession with clocks. In the end it’s a two-and-a-half-minute kiss and probably much more intimate and entrancing than it would have been without the constraints he was fighting. Such is Ozu’s skill as a director that he can devastate us just by filming a man peeling an apple, a perfect image that captures Late Spring’s compassion with heartbreaking clarity. —B.S. Don't forget subscribe to this channel. Starring: … Weird and wonderful and powerful filmmaking. Go on: be cynical. Some films are artistically groundbreaking and writ-large Important. There were a lot of great noirs in the ’40s. The 1940s saw the emergence of the auteur, filmmaking led by the director as opposed to the writer.  •   Most of these movies were made on a small budget but can be very entertaining nevertheless. —Amanda Schurr. one of those star-crossed love stories that, if it doesn’t tug at your heart, you might want to check to make sure you have one. Richard Long, Edward G. Robinson, Philip Merivale, Edward Dmytryk Bicycle Thieves marries sober observations about its time and place with an abiding sense of optimism that’s fully realized in the film’s climax. Roy Del Ruth • Starring: Bebe Daniels, Una Merkel, Dwight Frye. Starring: Trust is a choice, a leap of faith—and not always rewarded. But sandwiched in between this probing whodunit lies one of noir’s most sympathetic and purely humanist tales. Special effects have become so sophisticated that many of us have probably forgotten how much pure amazement you can wreak with a great story and a script that doesn’t let up for one second. The city is nearly a character more than it is a backdrop, though of course the hero is Murakami (the great Toshiro Mifune, here appearing in the third of his sixteen eventual roles in Kurosawa’s filmography), a coltish young detective who is obsessed to the point of detriment with retrieving his stolen service gun.  •   Director Raoul Walsh, reuniting here with Cagney after The Roaring Twenties and The Strawberry Blonde, echoes the off-the-rails energy of his leading man, infusing the film with an incendiary nihilism and amorality. 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