THE NARROW MARGIN
1952, Warner Bros., 71 min, USA, Dir: Richard Fleischer

This film always receives its share of votes as one of the finest noirs ever made - and the spiciest of its many ingredients is the unforgettable Marie Windsor. She and co-star Charles McGraw trade priceless purple putdowns as he ferries her across the rails from Chicago to L.A., where she’s scheduled to testify in a racket-busting trial. Plenty of switchbacks along the way, rendered with maximum punch and pace by director Richard Fleischer and producer Stanley Rubin.


HELL’S HALF ACRE
1954, Republic (Kit Parker), 91 min, USA, Dir: John Auer

Filmed in the notorious red light district of Honolulu, this Auer/Fisher concoction is a delirious excursion into low-life noir. Evelyn Keyes becomes a taxi dancer to hunt for her missing G.I. husband Wendell Corey, who she believes is alive and writing hit songs in Hawaii! Little does she know he’s more than a simple songsmith - he’s also a gangster vying with Philip Ahn for control of the island’s vice rackets. Toss the sultry and statuesque Marie Windsor into the mix, and it’s pulp nirvana. Imagine film noir with a slack-key guitar soundtrack ... as good as trashy B-movies get!


THE KILLING
1956, Park Circus/MGM, 83 min, Dir: Stanley Kubrick

Kubrick’s tough-as-nails heist film about a robbery at a racetrack features an incredible rogue’s gallery of great character actors, including Sterling Hayden, Coleen Gray, Elisha Cook Jr., Marie Windsor and Timothy Carey. One of the most entertaining crime films ever made, propelled by Kubrick’s no-nonsense approach and screenwriter Jim Thompson’s biting, chiseled-in-stone dialogue.


Syndicate content