Want to know the best Film Noir movies? How about the worst Film Noir movies? Curious about Film Noir’s box office grosses or which Film Noir movie picked up the most Oscar® nominations? Need to know which Film Noir movie got the best reviews from critics and audiences and which got the worst reviews? Well you have come to the right place….because we have all of that information.
What is Film Noir? One definition of film noir is….a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly such that emphasize cynical attitudes and sexual motivations. Film noir in French means black film. Before researching this page…we pretty much thought a film noir movie was a black and white, dark, crime movie. Well after researching these movies for the last couple of months we no longer have any idea what a film noir movie really is anymore.
Part of our research was finding and reading lots of film noir books and lots of internet lists that named the best film noir movies. We found Film Noir Guide by Michael F. Keaney. Encyclopedia of Film Noir by Geoff Mayer and Brian McDonnell, Dark Cinema: American Film Noir in Cultural Perspective by Jon Tuska and Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon very useful. Every book we read had a different definition of film noir. At one point it seemed that every movie ever made was a form of film noir.
So how did we come up with these 263 movies on the following table? First of all we picked one timeline…..1940-1959. Any movie labeled a film noir that was not made in those 19 years was excluded from our table. This rule pretty much destroyed many of the internet film noir lists. We actually found one internet list that only had 6 movies made before 1970 on their all-time film noir list. Next we created a excel spreadsheet. We used 11 different sources (books and internet resources). Once a movie was labeled a film noir movie in 5 different sources…it made our table.
Film Noir Movies Can Be Ranked 6 Ways In This Table
The really cool thing about this table is that it is “user-sortable”. Rank the movies anyway you want.
- Sort Film Noir movies by the stars or director of movie.
- Sort Film Noir movies by adjusted domestic box office grosses using current movie ticket cost (in millions)
- Sort Film Noir movies by yearly domestic box office rank
- Sort Film Noir movies how they were received by critics and audiences. 60% rating or higher should indicate a good movie.
- Sort by how many Oscar® nominations each Film Noir movie received and how many Oscar® wins each Film Noir movie won.
- Sort Film Noir movies by Ultimate Movie Rankings (UMR) Score. UMR Score puts box office, reviews and awards into a mathematical equation and gives each movie a score
R | Movie (Year) | UMR Co-Star Links | Adj. B.O. Worldwide (mil) | Review | Oscar Nom / Win | UMR Score | ||||
---|---|---|---|---|---|---|---|---|---|---|
R | Movie (Year) | UMR Co-Star Links | Actual B.O. Domestic (mil) | Adj. B.O. Domestic (mil) | Adj. B.O. Worldwide (mil) | B.O. Rank by Year | Review | Oscar Nom / Win | UMR Score | S |
2 | All the King's Men (1949) AA Best Picture Win |
Broderick Crawford & John Ireland |
6.70 | 182.2 | 182.20 | 31 | 86 | 07 / 03 | 99.8 | |
1 | Double Indemnity (1944) AA Best Picture Nom |
Barbara Stanwyck & Edward G. Robinson |
8.40 | 307.8 | 307.80 | 21 | 94 | 07 / 00 | 99.7 | |
3 | Sunset Blvd. (1950) AA Best Picture Nom |
William Holden & Gloria Swanson |
6.70 | 164.4 | 164.40 | 24 | 90 | 11 / 03 | 99.3 | |
4 | The Treasure of the Sierra Madre (1948) AA Best Picture Nom |
Walter Huston & Humphrey Bogart |
6.10 | 177.8 | 316.60 | 45 | 90 | 04 / 03 | 99.2 | |
5 | The Snake Pit (1948) AA Best Picture Nom |
Olivia de Havilland | 10.80 | 316.9 | 316.90 | 5 | 84 | 06 / 01 | 99.2 | |
6 | A Place in the Sun (1951) AA Best Picture Nom |
Montgomery Clift & Elizabeth Taylor |
10.00 | 235.0 | 463.30 | 10 | 76 | 09 / 06 | 99.2 | |
6 | Suspicion (1941) AA Best Picture Nom |
Joan Fontaine & Cary Grant |
5.20 | 216.6 | 341.00 | 26 | 86 | 03 / 01 | 99.2 | |
6 | Mildred Pierce (1945) AA Best Picture Nom |
Joan Crawford & Ann Blyth |
9.70 | 334.4 | 545.50 | 16 | 82 | 06 / 01 | 99.1 | |
9 | The Third Man (1949) | Orson Welles & Joseph Cotten |
7.20 | 197.4 | 197.40 | 25 | 90 | 03 / 01 | 99.0 | |
8 | Laura (1944) | Clifton Webb & Gene Tierney |
6.50 | 236.9 | 236.90 | 39 | 86 | 05 / 01 | 98.9 | |
10 | The Killers (1946) | Burt Lancaster & Ava Gardner |
6.80 | 226.8 | 226.80 | 52 | 87 | 04 / 00 | 98.8 | |
11 | Key Largo (1948) | Humphrey Bogart & Lionel Barrymore |
8.70 | 255.1 | 337.70 | 16 | 88 | 01 / 01 | 98.8 | |
12 | The Big Sleep (1946) | Humphrey Bogart & Lauren Bacall |
8.10 | 272.2 | 441.70 | 32 | 89 | 00 / 00 | 98.7 | |
13 | Scarlet Street (1945) | Edward G. Robinson & Joan Bennett |
6.90 | 240.0 | 283.00 | 41 | 87 | 00 / 00 | 98.5 | |
13 | To Have and Have Not (1944) | Humphrey Bogart & Lauren Bacall |
11.80 | 432.6 | 622.70 | 8 | 87 | 00 / 00 | 98.5 | |
15 | Gilda (1946) | Rita Hayworth & Glenn Ford |
10.30 | 344.8 | 344.80 | 18 | 87 | 00 / 00 | 98.4 | |
17 | Crossfire (1947) AA Best Picture Nom |
Robert Ryan & Robert Mitchum |
6.80 | 214.6 | 276.80 | 41 | 76 | 05 / 00 | 98.4 | |
18 | Vertigo (1958) | James Stewart & Kim Novak |
9.10 | 179.0 | 179.00 | 19 | 91 | 02 / 00 | 98.4 | |
17 | The Woman in the Window (1944) | Edward G. Robinson & Joan Bennett |
6.50 | 238.1 | 393.80 | 36 | 85 | 01 / 00 | 98.3 | |
18 | Leave Her to Heaven (1945) | Gene Tierney & Vincent Price |
14.20 | 490.1 | 490.10 | 3 | 81 | 04 / 01 | 98.3 | |
21 | The Stranger (1946) | Edward G. Robinson & Orson Welles |
6.10 | 204.2 | 204.20 | 59 | 85 | 01 / 00 | 98.2 | |
21 | The Spiral Staircase (1946) | Ethel Barrymore | 7.40 | 249.5 | 249.50 | 45 | 84 | 01 / 00 | 98.1 | |
23 | The Postman Always Rings Twice (1946) | Lana Turner & John Garfield |
10.20 | 343.5 | 465.50 | 19 | 85 | 00 / 00 | 98.1 | |
24 | The Man From Laramie (1955) | James Stewart & Donald Crisp |
9.40 | 213.0 | 213.00 | 31 | 83 | 00 / 00 | 97.9 | |
25 | I Want to Live! (1958) | Susan Hayward | 9.10 | 179.0 | 179.00 | 18 | 83 | 06 / 01 | 97.7 | |
26 | The Man with the Golden Arm (1955) | Frank Sinatra & Eleanor Parker |
11.70 | 263.4 | 263.40 | 22 | 80 | 03 / 00 | 97.7 | |
29 | The Maltese Falcon (1941) AA Best Picture Nom |
Humphrey Bogart & Peter Lorre |
3.40 | 144.4 | 253.40 | 68 | 91 | 03 / 00 | 97.6 | |
28 | The Naked City (1948) Uncredited Role |
Barry Fitzgerald | 6.30 | 185.5 | 185.50 | 40 | 81 | 03 / 02 | 97.4 | |
29 | Sorry, Wrong Number (1948) | Barbara Stanwyck & Burt Lancaster |
7.50 | 220.3 | 220.30 | 25 | 80 | 01 / 00 | 97.4 | |
30 | White Heat (1949) | James Cagney & Virginia Mayo |
6.10 | 166.2 | 264.50 | 36 | 91 | 01 / 00 | 97.4 | |
31 | The Strange Love of Martha Ivers (1946) | Kirk Douglas & Barbara Stanwyck |
8.90 | 299.4 | 299.40 | 28 | 80 | 01 / 00 | 97.3 | |
32 | Brute Force (1947) | Burt Lancaster | 5.90 | 188.8 | 188.80 | 53 | 84 | 00 / 00 | 97.3 | |
33 | Johnny Guitar (1954) | Joan Crawford & Ernest Borgnine |
7.10 | 182.5 | 182.50 | 45 | 86 | 00 / 00 | 97.2 | |
34 | The Blue Dahlia (1946) | Alan Ladd & Veronica Lake |
7.40 | 249.5 | 249.50 | 47 | 79 | 01 / 00 | 97.1 | |
35 | Dark Passage (1947) | Humphrey Bogart & Lauren Bacall |
8.10 | 257.5 | 352.90 | 29 | 78 | 00 / 00 | 96.9 | |
36 | The Letter (1940) AA Best Picture Nom |
Bette Davis & Gale Sondergaard |
3.50 | 145.1 | 230.70 | 42 | 84 | 07 / 00 | 96.9 | |
37 | Pursued (1947) | Robert Mitchum & Teresa Wright |
7.80 | 248.9 | 248.90 | 31 | 77 | 00 / 00 | 96.6 | |
38 | The Bad and the Beautiful (1952) | Kirk Douglas & Lana Turner |
6.60 | 140.5 | 200.20 | 37 | 85 | 06 / 05 | 96.5 | |
39 | Champion (1949) | Kirk Douglas & Arthur Kennedy |
5.80 | 159.4 | 159.40 | 40 | 83 | 06 / 01 | 96.4 | |
40 | Christmas Holiday (1944) | Gene Kelly & Deanna Durbin |
6.20 | 229.5 | 229.50 | 48 | 74 | 01 / 00 | 95.9 | |
41 | Johnny Eager (1941) | Van Heflin & Lana Turner |
6.40 | 270.2 | 404.20 | 12 | 72 | 01 / 01 | 95.8 | |
42 | The Lodger (1944) | Merle Oberon | 6.50 | 236.9 | 236.90 | 43 | 74 | 00 / 00 | 95.7 | |
43 | Winchester '73 (1950) | James Stewart & Rock Hudson |
6.40 | 157.4 | 157.40 | 32 | 87 | 00 / 00 | 95.7 | |
44 | The Seventh Veil (1945) | James Mason & Herbert Lom |
5.60 | 192.0 | 192.00 | 60 | 74 | 01 / 01 | 95.7 | |
45 | A Stolen Life (1946) | Bette Davis & Glenn Ford |
8.70 | 292.3 | 434.20 | 29 | 72 | 01 / 00 | 95.5 | |
46 | Nobody Lives Forever (1946) | John Garfield & Walter Brennan |
5.70 | 190.0 | 252.20 | 61 | 76 | 00 / 00 | 95.4 | |
48 | Call Northside 777 (1948) | James Stewart & Thelma Ritter |
7.10 | 208.7 | 208.70 | 32 | 72 | 00 / 00 | 95.4 | |
48 | Sweet Smell of Success (1957) | Burt Lancaster & Tony Curtis |
6.40 | 134.9 | 134.90 | 36 | 92 | 00 / 00 | 95.2 | |
49 | Detective Story (1951) | Eleanor Parker & Kirk Douglas |
8.00 | 188.0 | 188.00 | 15 | 72 | 04 / 00 | 95.1 | |
50 | Dragonwyck (1946) | Vincent Price & Gene Tierney |
8.10 | 272.2 | 272.20 | 33 | 71 | 00 / 00 | 95.0 | |
51 | Conflict (1945) | Humphrey Bogart & Sydney Greenstreet |
6.30 | 217.4 | 350.30 | 48 | 70 | 00 / 00 | 94.8 | |
52 | Love Letters (1945) | Jennifer Jones & Joseph Cotten |
8.30 | 288.0 | 288.00 | 31 | 67 | 04 / 00 | 94.7 | |
53 | Possessed (1947) | Joan Crawford & Van Heflin |
5.40 | 170.5 | 170.50 | 63 | 78 | 01 / 00 | 94.7 | |
55 | Shadow of a Doubt (1943) | Joseph Cotten & Teresa Wright |
3.40 | 134.3 | 134.30 | 90 | 90 | 01 / 00 | 94.7 | |
55 | My Favorite Brunette (1947) | Bob Hope & Dorothy Lamour |
8.40 | 266.1 | 266.10 | 26 | 70 | 00 / 00 | 94.7 | |
56 | The Dark Mirror (1946) | Olivia de Havilland | 7.40 | 249.5 | 249.50 | 48 | 68 | 01 / 00 | 94.5 | |
57 | Boomerang! (1947) | Dana Andrews | 6.10 | 193.1 | 193.10 | 47 | 70 | 01 / 00 | 94.4 | |
58 | Road House (1948) | Richard Widmark | 6.30 | 185.9 | 185.90 | 38 | 73 | 00 / 00 | 94.4 | |
59 | Keeper of the Flame (1942) | Katharine Hepburn & Spencer Tracy |
6.30 | 253.5 | 373.00 | 24 | 68 | 00 / 00 | 94.3 | |
61 | Humoresque (1946) | Joan Crawford & John Garfield |
6.20 | 207.0 | 308.40 | 57 | 67 | 01 / 00 | 94.0 | |
61 | High Sierra (1941) | Humphrey Bogart | 3.40 | 143.9 | 201.60 | 69 | 85 | 00 / 00 | 93.8 | |
63 | Bad Day at Black Rock (1955) | Spencer Tracy & Lee Marvin |
5.70 | 129.1 | 246.80 | 56 | 87 | 03 / 00 | 93.8 | |
63 | Deception (1946) | Bette Davis & Claude Rains |
5.80 | 193.4 | 296.00 | 60 | 69 | 00 / 00 | 93.7 | |
64 | The Big Clock (1948) | Charles Laughton & Ray Milland |
5.30 | 154.6 | 154.60 | 64 | 81 | 00 / 00 | 93.7 | |
65 | The Unsuspected (1947) | Claude Rains & Joan Caulfield |
5.40 | 171.7 | 171.70 | 61 | 75 | 00 / 00 | 93.7 | |
66 | Cloak and Dagger (1946) | Gary Cooper | 6.80 | 226.8 | 226.80 | 53 | 66 | 00 / 00 | 93.6 | |
67 | The House on 92nd Street (1945) | William Eythe | 6.90 | 240.0 | 240.00 | 38 | 64 | 01 / 01 | 93.5 | |
66 | Out of the Past (1947) | Kirk Douglas & Robert Mitchum |
4.00 | 128.3 | 182.00 | 87 | 88 | 00 / 00 | 93.5 | |
69 | The Desperate Hours (1955) | Humphrey Bogart & Fredric March |
7.10 | 161.4 | 161.40 | 41 | 78 | 00 / 00 | 93.4 | |
70 | Calcutta (1946) | Alan Ladd & Gail Russell |
7.60 | 254.1 | 254.10 | 39 | 65 | 00 / 00 | 93.3 | |
71 | Strangers on a Train (1951) | Ruth Roman | 5.10 | 120.1 | 197.10 | 57 | 90 | 00 / 00 | 93.2 | |
71 | The Gunfighter (1950) | Gregory Peck & Karl Malden |
5.60 | 136.4 | 136.40 | 48 | 84 | 01 / 00 | 93.2 | |
73 | A Woman's Face (1941) | Joan Crawford & Melvyn Douglas |
3.50 | 145.8 | 258.10 | 67 | 82 | 00 / 00 | 93.2 | |
74 | The Two Mrs. Carrolls (1947) | Humphrey Bogart & Barbara Stanwyck |
6.20 | 196.7 | 306.30 | 46 | 66 | 00 / 00 | 93.1 | |
76 | The Wild One (1953) | Marlon Brando & Lee Marvin |
8.60 | 169.1 | 169.10 | 24 | 74 | 00 / 00 | 92.9 | |
75 | Kiss of Death (1947) Uncredited Role |
Richard Widmark & Victor Mature |
4.50 | 141.6 | 141.60 | 78 | 81 | 02 / 00 | 92.9 | |
75 | The Naked Spur (1953) | James Stewart & Robert Ryan |
6.80 | 133.5 | 133.50 | 38 | 84 | 01 / 00 | 92.7 | |
79 | I Wake Up Screaming (1941) | Betty Grable & Victor Mature |
4.00 | 169.2 | 169.20 | 46 | 73 | 00 / 00 | 92.6 | |
79 | Flesh and Fantasy (1943) | Barbara Stanwyck & Edward G. Robinson |
5.10 | 201.4 | 201.40 | 55 | 63 | 00 / 00 | 92.6 | |
80 | Body and Soul (1947) | John Garfield | 3.80 | 120.2 | 120.20 | 91 | 84 | 03 / 01 | 92.4 | |
82 | House of Strangers (1949) | Susan Hayward & Edward G. Robinson |
5.60 | 151.8 | 151.80 | 46 | 77 | 00 / 00 | 92.3 | |
82 | Chicago Deadline (1949) | Alan Ladd & Donna Reed |
5.80 | 159.4 | 159.40 | 41 | 75 | 00 / 00 | 92.3 | |
83 | They Drive By Night (1940) | Humphrey Bogart & Ann Sheridan |
3.10 | 130.9 | 191.40 | 48 | 83 | 00 / 00 | 92.1 | |
84 | Odd Man Out (1947) | James Mason | 3.80 | 120.2 | 120.20 | 90 | 86 | 01 / 00 | 92.0 | |
85 | Flamingo Road (1949) | Joan Crawford & Sydney Greenstreet |
6.30 | 171.8 | 219.80 | 33 | 70 | 00 / 00 | 92.0 | |
84 | Murder, My Sweet (1944) | Dick Powell | 3.70 | 136.2 | 203.10 | 89 | 81 | 00 / 00 | 91.8 | |
86 | Invasion of the Body Snatchers (1956) | Kevin McCarthy | 6.00 | 128.2 | 128.20 | 47 | 82 | 00 / 00 | 91.2 | |
88 | The Paradine Case (1947) | Charles Laughton & Gregory Peck |
5.90 | 188.8 | 188.80 | 54 | 62 | 01 / 00 | 91.2 | |
88 | A Double Life (1947) | Ronald Colman & Shelley Winters |
4.60 | 145.9 | 145.90 | 77 | 69 | 04 / 02 | 90.8 | |
92 | T-Men (1947) | Dennis O'Keefe & Directed by Anthony Mann |
4.30 | 137.3 | 137.30 | 79 | 76 | 01 / 00 | 90.5 | |
89 | Attack (1956) | Lee Marvin & Jack Palance |
5.70 | 122.1 | 122.10 | 49 | 82 | 00 / 00 | 90.5 | |
94 | The Red House (1947) | Edward G. Robinson | 4.60 | 145.9 | 145.90 | 76 | 74 | 00 / 00 | 90.5 | |
93 | The Street with No Name (1948) | Richard Widmark | 6.20 | 181.7 | 181.70 | 43 | 63 | 00 / 00 | 90.5 | |
94 | Confidential Agent (1945) | Lauren Bacall & Peter Lorre |
4.50 | 155.0 | 262.70 | 80 | 71 | 00 / 00 | 90.4 | |
93 | City for Conquest (1940) | James Cagney & Anthony Quinn |
3.30 | 138.6 | 215.10 | 45 | 76 | 00 / 00 | 90.4 | |
96 | Pickup on South Street (1953) | Thelma Ritter & Richard Widmark |
5.80 | 112.8 | 112.80 | 52 | 83 | 01 / 00 | 90.2 | |
97 | Fallen Angel (1945) | Dana Andrews & Alice Faye |
4.20 | 144.0 | 144.00 | 83 | 74 | 00 / 00 | 90.1 | |
98 | The Ox-Bow Incident (1942) AA Best Picture Nom |
Henry Fonda & Anthony Quinn |
2.10 | 86.8 | 86.80 | 122 | 85 | 01 / 00 | 90.0 | |
99 | This Gun For Hire (1942) | Alan Ladd & Veronica Lake |
3.10 | 123.9 | 123.90 | 89 | 80 | 00 / 00 | 90.0 | |
100 | Rope of Sand (1949) | Burt Lancaster & Peter Lorre |
6.20 | 170.8 | 170.80 | 34 | 64 | 00 / 00 | 89.7 | |
102 | The Macomber Affair (1947) | Gregory Peck & Joan Bennett |
4.30 | 137.3 | 137.30 | 80 | 74 | 00 / 00 | 89.6 | |
102 | Niagara (1953) | Marilyn Monroe & Joseph Cotten |
7.10 | 139.5 | 139.50 | 34 | 73 | 00 / 00 | 89.4 | |
104 | Knock On Any Door (1949) | Humphrey Bogart | 5.80 | 159.4 | 159.40 | 39 | 67 | 00 / 00 | 89.4 | |
103 | In a Lonely Place (1950) | Humphrey Bogart | 3.90 | 96.2 | 96.20 | 82 | 87 | 00 / 00 | 89.4 | |
105 | Criss Cross (1949) | Burt Lancaster | 4.00 | 110.1 | 110.10 | 90 | 82 | 00 / 00 | 89.3 | |
108 | Affair in Trinidad (1952) | Rita Hayworth & Glenn Ford |
7.50 | 160.2 | 160.20 | 24 | 65 | 01 / 00 | 89.2 | |
107 | Sudden Fear (1952) | Jack Palance & Joan Crawford |
4.60 | 97.9 | 97.90 | 67 | 82 | 04 / 00 | 89.1 | |
106 | Ride the Pink Horse (1947) | Robert Montgomery & Thomas Gomez |
3.40 | 107.3 | 107.30 | 103 | 81 | 01 / 00 | 88.9 | |
109 | Dead Reckoning (1947) | Humphrey Bogart | 4.70 | 148.5 | 148.50 | 75 | 69 | 00 / 00 | 88.8 | |
109 | The Asphalt Jungle (1950) | Sam Jaffe & Marilyn Monroe |
3.10 | 75.3 | 149.90 | 104 | 87 | 04 / 00 | 88.2 | |
109 | Unfaithfully Yours (1948) | Rex Harrison | 3.40 | 100.7 | 100.70 | 99 | 82 | 00 / 00 | 88.1 | |
113 | The Enforcer (1951) | Humphrey Bogart | 4.50 | 106.4 | 192.90 | 74 | 79 | 00 / 00 | 87.9 | |
115 | The Furies (1950) | Barbara Stanwyck | 4.60 | 111.9 | 111.90 | 65 | 77 | 01 / 00 | 87.8 | |
114 | Panic in the Streets (1950) | Richard Widmark & Elia Kazan |
3.40 | 83.9 | 83.90 | 97 | 84 | 01 / 01 | 87.7 | |
117 | Compulsion (1959) | Orson Welles & Dean Stockwell |
5.10 | 100.7 | 100.70 | 49 | 80 | 00 / 00 | 87.5 | |
116 | His Kind of Woman (1951) | Robert Mitchum & Vincent Price |
5.70 | 134.3 | 134.30 | 46 | 69 | 00 / 00 | 87.4 | |
117 | Ace in the Hole (1951) | Kirk Douglas | 3.70 | 87.3 | 87.30 | 96 | 83 | 01 / 00 | 87.3 | |
118 | Daisy Kenyon (1947) | Henry Fonda & Joan Crawford |
4.70 | 150.2 | 150.20 | 74 | 64 | 00 / 00 | 87.2 | |
117 | The Big Heat (1953) | Lee Marvin & Glenn Ford |
3.80 | 74.2 | 74.20 | 97 | 87 | 00 / 00 | 87.0 | |
122 | The Glass Key (1942) | Alan Ladd & Veronica Lake |
2.80 | 114.6 | 114.60 | 102 | 74 | 00 / 00 | 86.9 | |
121 | Monsieur Verdoux (1947) | Charles Chaplin | 2.30 | 73.0 | 73.00 | 130 | 86 | 01 / 00 | 86.8 | |
122 | Crossroads (1942) | William Powell & Hedy Lamarr |
4.40 | 176.3 | 268.70 | 60 | 54 | 00 / 00 | 86.6 | |
123 | The Great Sinner (1949) | Gregory Peck & Ava Gardner |
5.60 | 151.8 | 151.80 | 44 | 61 | 00 / 00 | 86.6 | |
123 | Kiss Tomorrow Goodbye (1950) | James Cagney | 4.90 | 118.9 | 118.90 | 54 | 72 | 00 / 00 | 86.6 | |
125 | I Walk Alone (1947) | Burt Lancaster & Kirk Douglas |
5.70 | 180.2 | 180.20 | 56 | 52 | 00 / 00 | 86.3 | |
126 | Touch of Evil (1958) | Marlene Dietrich & Orson Welles |
3.20 | 63.4 | 63.40 | 67 | 89 | 00 / 00 | 86.3 | |
126 | Raw Deal (1948) | Dennis O'Keefe | 3.20 | 93.0 | 93.00 | 100 | 79 | 00 / 00 | 86.1 | |
130 | Rawhide (1951) | Susan Hayward & Tyrone Power |
5.60 | 130.9 | 130.90 | 52 | 67 | 00 / 00 | 86.0 | |
129 | The Harder They Fall (1956) | Humphrey Bogart & Rod Steiger |
3.90 | 82.4 | 82.40 | 90 | 81 | 01 / 00 | 86.0 | |
130 | Portrait of Jennie (1948) | Jennifer Jones & Joseph Cotten |
2.60 | 75.9 | 75.90 | 119 | 81 | 02 / 01 | 86.0 | |
131 | Kiss The Blood Off My Hands (1948) | Burt Lancaster & Joan Fontaine |
4.20 | 123.7 | 123.70 | 85 | 69 | 00 / 00 | 85.9 | |
130 | They Won't Believe Me (1947) | Susan Hayward & Robert Young |
3.60 | 113.3 | 173.40 | 95 | 72 | 00 / 00 | 85.8 | |
133 | No Way Out (1950) | Sidney Poitier & Richard Widmark |
3.90 | 94.4 | 94.40 | 83 | 77 | 01 / 00 | 85.7 | |
134 | Suddenly (1954) | Frank Sinatra | 4.00 | 102.2 | 102.20 | 82 | 75 | 00 / 00 | 85.6 | |
135 | The Dark Corner (1946) | Lucille Ball & Clifton Webb |
2.70 | 90.7 | 90.70 | 108 | 78 | 00 / 00 | 85.6 | |
138 | High Wall (1947) | Robert Taylor | 4.20 | 133.3 | 224.70 | 82 | 64 | 00 / 00 | 85.3 | |
137 | The Damned Don't Cry (1950) | Joan Crawford & David Brian |
4.40 | 107.7 | 154.60 | 69 | 72 | 00 / 00 | 85.2 | |
138 | Cornered (1945) | Dick Powell | 3.70 | 128.2 | 174.20 | 89 | 65 | 00 / 00 | 85.1 | |
139 | Night and the City (1950) | Richard Widmark & Gene Tierney |
3.60 | 87.4 | 87.40 | 95 | 77 | 00 / 00 | 84.7 | |
140 | Lust For Gold (1949) | Ida Lupino & Glenn Ford |
4.20 | 113.5 | 113.50 | 85 | 69 | 00 / 00 | 84.5 | |
141 | All My Sons (1948) | Burt Lancaster & Edward G. Robinson |
2.90 | 85.0 | 85.00 | 106 | 78 | 00 / 00 | 84.5 | |
142 | Blood on the Moon (1948) | Robert Mitchum & Walter Brennan |
5.60 | 163.5 | 204.10 | 58 | 53 | 00 / 00 | 84.5 | |
141 | Hangover Square (1945) | Laird Cregar | 2.80 | 95.7 | 95.70 | 107 | 74 | 00 / 00 | 84.5 | |
142 | Force of Evil (1948) | John Garfield | 2.50 | 73.3 | 82.80 | 124 | 81 | 00 / 00 | 84.3 | |
145 | Where the Sidewalk Ends (1950) | Dana Andrews & Gene Tierney |
2.90 | 69.9 | 69.90 | 110 | 82 | 00 / 00 | 84.3 | |
146 | Clash by Night (1952) | Marilyn Monroe & Barbara Stanwyck |
4.20 | 89.0 | 89.00 | 84 | 75 | 00 / 00 | 84.2 | |
147 | Smash-Up: The Story of a Woman (1947) | Susan Hayward & Walter Wanger |
4.70 | 150.5 | 213.90 | 72 | 54 | 02 / 00 | 84.1 | |
148 | They Live By Night (1948) | Farley Granger | 2.40 | 69.6 | 69.60 | 129 | 81 | 00 / 00 | 84.0 | |
149 | Cry of The City (1948) | Shelley Winters & Victor Mature |
2.60 | 77.3 | 77.30 | 115 | 78 | 00 / 00 | 83.8 | |
148 | Don't Bother To Knock (1952) | Simone Signoret & Véra Clouzot |
4.20 | 89.0 | 89.00 | 76 | 74 | 00 / 00 | 83.7 | |
150 | I Confess (1953) | Montgomery Clift | 4.40 | 85.6 | 173.20 | 80 | 75 | 00 / 00 | 83.5 | |
153 | The Breaking Point (1950) | John Garfield | 3.00 | 73.4 | 120.30 | 105 | 78 | 00 / 00 | 83.2 | |
151 | The Lady From Shanghai (1947) | Orson Welles & Rita Hayworth |
2.00 | 63.5 | 63.50 | 136 | 81 | 00 / 00 | 83.1 | |
155 | The Wrong Man (1956) | Henry Fonda | 3.30 | 71.1 | 130.30 | 102 | 79 | 00 / 00 | 83.0 | |
155 | Beyond the Forest (1949) | Bette Davis & Joseph Cotten |
3.70 | 101.0 | 131.90 | 95 | 68 | 01 / 00 | 83.0 | |
154 | Nightmare Alley (1947) | Tyrone Power & Joan Blondell |
1.50 | 47.2 | 47.20 | 145 | 86 | 00 / 00 | 82.7 | |
157 | The Killing (1956) | Sterling Hayden & Directed by Stanley Kubrick |
1.80 | 37.5 | 37.50 | 148 | 89 | 00 / 00 | 82.7 | |
159 | The Set-Up (1949) | Robert Ryan | 2.30 | 62.6 | 91.80 | 135 | 81 | 00 / 00 | 82.7 | |
160 | Ruby Gentry (1952) | Charlton Heston & Jennifer Jones |
4.90 | 103.9 | 103.90 | 63 | 68 | 00 / 00 | 82.7 | |
162 | Station West (1948) | Dick Powell & Raymond Burr |
3.60 | 106.3 | 132.60 | 97 | 67 | 00 / 00 | 82.5 | |
160 | Violent Saturday (1955) | Lee Marvin & Victor Mature |
3.60 | 80.7 | 80.70 | 91 | 74 | 00 / 00 | 82.2 | |
162 | Fixed Bayonets! (1951) | Richard Basehart & Directed by Sam Fuller |
4.10 | 97.4 | 97.40 | 87 | 69 | 00 / 00 | 82.1 | |
163 | The Night of the Hunter (1955) | Robert Mitchum & Directed by Charles Laughton |
0.90 | 19.4 | 19.40 | 181 | 93 | 00 / 00 | 81.9 | |
164 | The Man From Colorado (1948) | William Holden & Glenn Ford |
5.30 | 154.6 | 154.60 | 67 | 50 | 00 / 00 | 81.9 | |
165 | Gun Crazy (1950) | Peggy Cummins & John Dall |
2.40 | 57.7 | 57.70 | 134 | 81 | 00 / 00 | 81.9 | |
164 | D.O.A. (1949) | Edmond O'Brien | 2.10 | 56.3 | 56.30 | 141 | 81 | 00 / 00 | 81.6 | |
165 | He Ran All The Way (1951) | John Garfield & Shelley Winters |
2.90 | 67.1 | 67.10 | 131 | 77 | 00 / 00 | 81.6 | |
168 | Pitfall (1948) | Dick Powell & Raymond Burr |
2.90 | 85.0 | 85.00 | 104 | 71 | 00 / 00 | 81.2 | |
171 | Desperate (1947) | Steve Brodie | 3.00 | 94.5 | 94.50 | 115 | 68 | 00 / 00 | 81.2 | |
170 | Autumn Leaves (1956) | Joan Crawford & Cliff Robertson |
3.10 | 67.1 | 67.10 | 108 | 76 | 00 / 00 | 81.1 | |
172 | Framed (1947) | Glenn Ford & Janis Carter |
3.40 | 107.3 | 107.30 | 101 | 63 | 00 / 00 | 80.9 | |
173 | Deadline At Dawn (1946) | Susan Hayward | 3.00 | 102.1 | 102.10 | 102 | 65 | 00 / 00 | 80.8 | |
173 | The Bribe (1949) | Ava Gardner & Vincent Price |
4.30 | 118.3 | 190.50 | 72 | 59 | 00 / 00 | 80.7 | |
174 | Three Strangers (1946) | Peter Lorre & Sydney Greenstreet |
2.80 | 93.7 | 149.40 | 105 | 66 | 00 / 00 | 80.2 | |
175 | Whirlpool (1950) | Gene Tierney | 3.30 | 80.4 | 80.40 | 100 | 70 | 00 / 00 | 80.0 | |
176 | Moss Rose (1947) | Vincent Price & Victor Mature |
3.10 | 98.7 | 98.70 | 110 | 64 | 00 / 00 | 79.9 | |
177 | Angel Face (1953) | Robert Mitchum & Jean Simmons |
3.00 | 59.3 | 59.30 | 132 | 76 | 00 / 00 | 79.7 | |
178 | The File on Thelma Jordon (1949) | Barbara Stanwyck | 2.60 | 72.1 | 72.10 | 122 | 72 | 00 / 00 | 79.6 | |
179 | The Narrow Margin (1952) | Charles McGraw | 1.70 | 35.4 | 35.40 | 173 | 83 | 01 / 00 | 79.6 | |
178 | Act of Violence (1949) | Van Heflin & Janet Leigh |
2.00 | 53.4 | 85.70 | 146 | 78 | 00 / 00 | 79.4 | |
179 | Ride Lonesome (1959) | James Coburn & Randolph Scott |
2.70 | 53.2 | 53.20 | 87 | 78 | 00 / 00 | 79.4 | |
182 | Rancho Notorious (1952) | Marlene Dietrich & Arthur Kennedy |
2.50 | 53.4 | 53.40 | 136 | 77 | 00 / 00 | 79.2 | |
183 | Kiss Me Deadly (1955) | Ralph Meeker | 2.10 | 46.9 | 46.90 | 137 | 79 | 00 / 00 | 79.2 | |
184 | Storm Warning (1950) | Doris Day & Ginger Rogers |
3.60 | 87.4 | 87.40 | 93 | 66 | 00 / 00 | 78.9 | |
184 | On Dangerous Ground (1951) | Ida Lupino & Robert Ryan |
1.90 | 44.0 | 44.00 | 159 | 80 | 00 / 00 | 78.8 | |
186 | Fourteen Hours (1951) | Grace Kelly | 2.00 | 47.0 | 47.00 | 156 | 78 | 01 / 00 | 78.7 | |
188 | Sleep, My Love (1948) | Claudette Colbert & Don Ameche |
2.40 | 71.0 | 71.00 | 126 | 71 | 00 / 00 | 78.6 | |
188 | Diabolique (1955) | Simone Sigornet | 1.00 | 22.6 | 22.60 | 171 | 86 | 00 / 00 | 78.3 | |
189 | Union Station (1950) | William Holden & Nancy Olson |
4.10 | 99.7 | 99.70 | 76 | 61 | 00 / 00 | 78.2 | |
192 | Baby Face Nelson (1957) | Mickey Rooney & Carolyn Jones |
3.60 | 74.9 | 74.90 | 68 | 69 | 00 / 00 | 78.0 | |
191 | The Racket (1951) | Robert Mitchum & Robert Ryan |
5.00 | 117.5 | 117.50 | 59 | 55 | 00 / 00 | 78.0 | |
192 | Cry Wolf (1947) | Barbara Stanwyck & Errol Flynn |
5.00 | 158.1 | 230.90 | 69 | 42 | 00 / 00 | 77.6 | |
193 | The Big Combo (1955) | Cornel Wilde & Richard Conte |
1.90 | 42.0 | 42.00 | 141 | 78 | 00 / 00 | 77.4 | |
194 | Whistle Stop (1946) | Ava Gardner & George Raft |
3.90 | 131.6 | 131.60 | 85 | 50 | 00 / 00 | 77.3 | |
195 | Rififi (1955) | Jules Dassin | 0.10 | 1.3 | 1.30 | 208 | 91 | 00 / 00 | 77.3 | |
196 | Detour (1945) | Tom Neal & Ann Savage |
1.00 | 36.0 | 36.00 | 137 | 80 | 00 / 00 | 77.1 | |
197 | The Mask of Dimitrios (1944) | Peter Lorre & Sydney Greenstreet |
1.30 | 48.6 | 158.20 | 135 | 76 | 00 / 00 | 77.1 | |
197 | Witness to Murder (1954) | Barbara Stanwyck & George Sanders |
2.90 | 73.0 | 73.00 | 106 | 67 | 00 / 00 | 76.6 | |
199 | One Way Street (1950) | James Mason & Dan Duryea |
3.70 | 90.9 | 90.90 | 89 | 61 | 00 / 00 | 76.2 | |
200 | Appointment with Danger (1950) | Alan Ladd & Jack Webb |
4.10 | 101.4 | 101.40 | 74 | 58 | 00 / 00 | 76.1 | |
200 | Angels Over Broadway (1940) | Rita Hayworth & Douglas Fairbanks Jr. |
2.00 | 85.7 | 85.70 | 96 | 62 | 01 / 00 | 76.0 | |
202 | The Fallen Sparrow (1943) | Maureen O'Hara & John Garfield |
3.60 | 141.8 | 194.00 | 86 | 43 | 01 / 00 | 75.3 | |
202 | Two Smart People (1946) | Lucille Ball | 2.40 | 79.0 | 108.80 | 116 | 64 | 00 / 00 | 75.2 | |
204 | Odds Against Tomorrow (1959) | Robert Ryan & Harry Belafonte |
1.80 | 35.0 | 35.00 | 121 | 77 | 00 / 00 | 74.9 | |
207 | Second Chance (1953) | Robert Mitchum & Linda Darnell |
6.10 | 118.7 | 118.70 | 48 | 51 | 00 / 00 | 74.8 | |
206 | I Walked with a Zombie (1943) | Frances Dee | 1.00 | 39.8 | 39.80 | 147 | 76 | 00 / 00 | 74.7 | |
205 | Night Has a Thousand Eyes (1948) | Edward G. Robinson & Gail Russell |
2.00 | 58.0 | 58.00 | 140 | 69 | 00 / 00 | 74.2 | |
209 | Serenade (1956) | Joan Fontaine & Mario Lanza |
4.30 | 91.6 | 168.20 | 75 | 58 | 00 / 00 | 73.3 | |
206 | Stranger on the Third Floor (1940) | Peter Lorre | 1.10 | 45.8 | 45.80 | 158 | 72 | 00 / 00 | 73.3 | |
208 | Journey Into Fear (1943) | Orson Welles & Joseph Cotten |
1.30 | 50.5 | 50.50 | 135 | 70 | 00 / 00 | 72.7 | |
212 | Crisis (1950) | Cary Grant & Jose Ferrer |
2.50 | 62.3 | 98.10 | 120 | 66 | 00 / 00 | 72.6 | |
211 | Edge of the City (1957) | Sidney Poitier | 2.20 | 46.8 | 46.80 | 108 | 71 | 00 / 00 | 72.6 | |
213 | Kansas City Confidential (1952) | John Payne | 1.50 | 32.0 | 32.00 | 178 | 76 | 00 / 00 | 72.4 | |
214 | Queen Bee (1955) | Joan Crawford & Fay Wray |
2.80 | 62.9 | 62.90 | 115 | 64 | 02 / 00 | 72.4 | |
215 | The Las Vegas Story (1952) | Vincent Price & Jane Russell |
3.30 | 71.2 | 71.20 | 110 | 63 | 00 / 00 | 72.4 | |
216 | The Long Night (1947) | Henry Fonda | 2.70 | 85.8 | 85.80 | 123 | 58 | 00 / 00 | 72.1 | |
217 | Moontide (1942) | Claude Rains | 1.20 | 50.1 | 50.10 | 161 | 69 | 01 / 00 | 72.0 | |
218 | Black Tuesday (1954) | Edward G. Robinson | 1.80 | 46.2 | 46.20 | 127 | 71 | 00 / 00 | 72.0 | |
219 | The Lady Gambles (1949) | Barbara Stanwyck & Tony Curtis |
3.10 | 83.5 | 83.50 | 115 | 59 | 00 / 00 | 71.8 | |
220 | Man in the Shadow (1957) | Orson Welles & Jeff Chandler |
2.00 | 41.7 | 41.70 | 116 | 72 | 00 / 00 | 71.6 | |
221 | Born To Be Bad (1950) | Joan Fontaine & Robert Ryan |
2.70 | 66.4 | 99.70 | 116 | 64 | 00 / 00 | 71.4 | |
222 | The Trap (1959) | Richard Widmark | 3.10 | 61.5 | 61.50 | 79 | 65 | 00 / 00 | 71.3 | |
223 | Another Man's Poison (1951) | Bette Davis | 2.40 | 56.8 | 56.80 | 140 | 67 | 00 / 00 | 71.3 | |
222 | The Secret Fury (1950) | Claudette Colbert & Robert Ryan |
2.40 | 59.4 | 90.90 | 125 | 65 | 00 / 00 | 70.6 | |
227 | The Lost Moment (1947) | Susan Hayward & Walter Wanger |
2.00 | 63.0 | 63.00 | 137 | 64 | 00 / 00 | 70.3 | |
226 | Beat the Devil (1953) | Humphrey Bogart & Peter Lorre |
3.00 | 59.4 | 59.40 | 120 | 65 | 00 / 00 | 69.9 | |
227 | Julie (1956) | Doris Day | 4.00 | 86.4 | 158.70 | 77 | 54 | 02 / 00 | 69.9 | |
228 | No Man of Her Own (1950) | Barbara Stanwyck | 1.60 | 39.5 | 39.50 | 160 | 71 | 00 / 00 | 69.7 | |
231 | Iron Man (1951) | Rock Hudson & Jeff Chandler |
2.90 | 67.1 | 67.10 | 127 | 61 | 00 / 00 | 68.2 | |
229 | So Evil My Love (1948) | Ray Milland | 1.60 | 48.3 | 48.30 | 151 | 67 | 00 / 00 | 68.2 | |
231 | The Sniper (1952) | Adolphe Menjou | 1.50 | 31.1 | 31.10 | 181 | 72 | 00 / 00 | 67.7 | |
232 | Rage in Heaven (1941) | Ingrid Bergman & Robert Montgomery |
2.00 | 84.6 | 84.60 | 116 | 54 | 00 / 00 | 66.9 | |
233 | Jeopardy (1953) | Barbara Stanwyck & Directed by John Sturges |
3.70 | 71.6 | 95.80 | 102 | 58 | 00 / 00 | 66.9 | |
232 | Where Danger Lives (1950) | Robert Mitchum & Claude Rains |
2.40 | 58.8 | 90.20 | 129 | 62 | 00 / 00 | 66.7 | |
236 | We Were Strangers (1949) | John Garfield & Jennifer Jones |
2.10 | 56.9 | 56.90 | 140 | 61 | 00 / 00 | 64.6 | |
234 | Quicksand (1950) | Peter Lorre & Mickey Rooney |
1.80 | 43.7 | 43.70 | 155 | 65 | 00 / 00 | 63.8 | |
237 | Tight Spot (1955) | Edward G. Robinson & Ginger Rogers |
1.90 | 42.9 | 42.90 | 139 | 64 | 00 / 00 | 62.9 | |
239 | Dark City (1950) | Charlton Heston | 2.70 | 66.4 | 66.40 | 117 | 57 | 00 / 00 | 62.7 | |
240 | The Glass Web (1953) | Edward G. Robinson | 2.10 | 41.5 | 41.50 | 164 | 63 | 00 / 00 | 60.7 | |
240 | Macao (1952) | Robert Mitchum & Jane Russell |
3.10 | 65.3 | 65.30 | 118 | 55 | 00 / 00 | 60.1 | |
241 | Out of the Fog (1941) | John Garfield | 1.90 | 77.8 | 77.80 | 124 | 51 | 00 / 00 | 59.9 | |
241 | Secret Beyond the Door... (1947) | Michael Redgrave | 1.10 | 36.5 | 36.50 | 156 | 64 | 00 / 00 | 59.9 | |
242 | Female on the Beach (1955) | Joan Crawford & Jeff Chandler |
2.20 | 50.0 | 50.00 | 130 | 60 | 00 / 00 | 59.5 | |
246 | Singapore (1947) | Ava Gardner & Fred MacMurray |
1.90 | 61.7 | 61.70 | 139 | 55 | 00 / 00 | 58.2 | |
245 | Killer's Kiss (1955) | Directed by Stanley Kubrick | 0.10 | 1.7 | 1.70 | 206 | 74 | 00 / 00 | 58.2 | |
245 | The Reckless Moment (1949) | James Mason & Joan Bennett |
2.00 | 54.4 | 54.40 | 144 | 57 | 00 / 00 | 57.9 | |
247 | The People Against O'Hara (1951) | Spencer Tracy & John Sturges |
3.20 | 74.3 | 113.80 | 114 | 50 | 00 / 00 | 55.7 | |
249 | Among The Living (1941) | Susan Hayward | 1.30 | 56.3 | 56.30 | 151 | 55 | 00 / 00 | 55.5 | |
247 | Lonelyhearts (1958) | Myrna Loy & Montgomery Clift |
2.20 | 42.5 | 42.50 | 102 | 59 | 01 / 00 | 55.3 | |
250 | Sirocco (1951) | Humphrey Bogart | 3.70 | 87.3 | 87.30 | 97 | 45 | 00 / 00 | 55.1 | |
251 | Crime of Passion (1956) | Barbara Stanwyck | 1.40 | 30.5 | 30.50 | 158 | 62 | 00 / 00 | 53.4 | |
252 | Time Table (1956) | John Marley | 0.50 | 10.3 | 10.30 | 199 | 68 | 00 / 00 | 52.8 | |
251 | The Devil Thumbs a Ride (1947) | Lawrence Tierney | 1.10 | 35.1 | 35.10 | 160 | 60 | 00 / 00 | 51.5 | |
252 | Black Magic (1949) | Orson Welles & Raymond Burr |
1.50 | 39.8 | 39.80 | 164 | 58 | 00 / 00 | 50.4 | |
254 | Black Hand (1950) | Gene Kelly | 2.20 | 54.0 | 84.60 | 140 | 53 | 00 / 00 | 49.6 | |
255 | A Woman's Secret (1949) | Maureen O'Hara & Melvyn Douglas |
2.00 | 54.7 | 54.70 | 143 | 52 | 00 / 00 | 48.8 | |
256 | Cry Terror! (1958) | James Mason & Rod Steiger |
1.70 | 33.6 | 33.60 | 117 | 57 | 00 / 00 | 45.8 | |
259 | This Woman Is Dangerous (1952) | Joan Crawford & Dennis Morgan |
2.40 | 50.4 | 50.40 | 142 | 51 | 00 / 00 | 44.2 | |
257 | Illegal (1955) | Edward G. Robinson | 0.40 | 9.9 | 11.00 | 192 | 63 | 00 / 00 | 42.7 | |
258 | The Turning Point (1952) | William Holden & Edmond O'Brien |
1.10 | 23.7 | 23.70 | 196 | 59 | 00 / 00 | 42.3 | |
260 | A Cry in The Night (1956) | Natalie Wood & Raymond Burr |
1.50 | 31.0 | 51.50 | 157 | 53 | 00 / 00 | 35.4 | |
262 | The Man in The Net (1959) | Alan Ladd & Carolyn Jones |
1.80 | 34.4 | 34.40 | 123 | 46 | 00 / 00 | 23.6 | |
261 | Twist of Fate (1954) | Ginger Rogers & Stanley Baker |
0.60 | 16.4 | 16.40 | 174 | 51 | 00 / 00 | 22.1 | |
263 | A Bullet for Joey (1955) | Edward G. Robinson | 1.60 | 37.1 | 37.10 | 149 | 37 | 00 / 00 | 11.6 |
And finally: This is obviously not every single film noir movie ever made. There are 1000s and 1000s of movies that many people consider film noir. We made 250 movies as our cut off point. Hopefully we have included the most popular film noir movies…though I am sure the good folks at the TCM message boards will find another 250 movies that need to be on the list. This was a request from Flora Breen Robison. Hey Flora….this was officially the most difficult requested page ever…but well worth the effort considering how supportive you are of our little old website.
So are you thinking….250 Film Noir movies is nice but I want more. Then check out this wonderful Film Noir page by the people at TheCinemaCafe.com. Plundering The Genre: Film Noir.
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Love this. I’ve been searching streaming channels for many of these and they’re hard to find. Great work.
Thank you James. Glad you liked the page. It was a lot of work….it was fun to do.
Oh, yeah–Double Indemnity, baby Number one where it needs to be.
Hey Leeson….lots of people have raised questions about why certain movies made this list….but as of yet nobody has questioned Double Indemnity being number one.
I don’t want to rain on your Parade, but you have NO IDEA what “Film Noir” is. An EASY ⅔ of your list only have ONE THING IN COMMON with True Film Noir: They’re in Black & White.
Hey Lou. I admit I am really confused about film noir. Which is why I used so many Film Noir books to make this list. So I guess you are saying that Film Noir Guide by Michael F. Keaney. Encyclopedia of Film Noir by Geoff Mayer and Brian McDonnell, Dark Cinema: American Film Noir in Cultural Perspective by Jon Tuska and Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon are confused…as I just compiled the movies they listed.
Hi
I love the term film noir. It sounds so cool. I think everyone’s definition of film noir is different. For me it is preferably in black and white, shadowy and characters who are not all what they seem to be. The good guy isn’t really good and the female is usually quite shady.
I’m glad Double Indemnity is number one, but I would have put Out of the Past a close second. Robert Mitchum, with his laid back attitude, was perfect for film noir. One film that stands out is Diabolical. I first seen it as a teenager and I remember the guy who was meant to be dead in the bath ends up rising up in the bath. It scared the life out of me.
Sharon Stone’s remake was woeful. The Big Heat is fantastic, Glenn Ford’s best film. Ace in the Hole is a really dark film, everyone is so bleak. That’s one thing about film noir, there’s not much room for comedy. It’s been a great page and you did a fantastic job. .
Hey Chris. Thanks for stopping by. I agree film noir sounds cool. If I have learned one thing about film noir…it is that everybody has a different definition of what film noir is. I like you thinking of what film noir. I would say my thinking is close to that….though I now realize there are many different sub groups of noir….and you could make a case for any movie to be in a film noir group.
Out of the Past finished 15th according to critics…which is pretty good considering how many movies we researched. Mitchum is on here 11 times…think Bogart has the most ….with 18 movies on the list….they both were great for film noir movies. I have not seen Diabolique or Ace In The Hole….but I want to. The Big Heat is classic….with Lee Marvin creating a great movie character to hate. Thanks for the compliment on the page and for the sharing your thoughts on film noir.
OUT OF The PAST, #15? ASPHALT JUNGLE, #27? Sad face.
Hey Donna….sorry they are not as high as you want. They still did very very well on this page. I listed almost 260 movies…and there might be another 700 out there….but not many of them would do better than either The Asphalt Jungle or Out of the Past. Thanks for the comment.