A Navy engineer, returning to the U.S. with his wife from a conference, finds himself pursued by Nazi agents, who are out to kill him. Without a word to his wife, he flees the hotel the ... See full summary »
Dolores del Rio
A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
Quiet, organised Dr Talbot meets nightclub singer Nora Prentiss when she is slightly hurt in a street accident. Despite her misgivings they become heavily involved and Talbot finds he is ... See full summary »
Joe comes from a rough neighborhood and when his brother Mike is gunned down in 1927, he decides to go into legitimate business. He wants to make a lot of money and fast so he is ambitious ... See full summary »
J. Walter Ruben
Douglas Fairbanks Jr.,
Wonder Pictures' seedy publicity man Lanny Morgan has put the studio's biggest star, Annabel Allison, in one crazy stunt after another. His latest scheme has Annabel pretending to be a maid... See full summary »
Sam Hurley, "Nation's No. 1 killer" with a cold contempt for "heroes," escapes prison with two companions and takes a mixed bag of hostages to Nevada ghost town Lost Hope City. He knows ... See full summary »
In Hungary, a prosperous and happy family of farmers take in a Gypsy girl, Nubi, when she runs away from her "cruel" master. Her fickle and seductive nature soon causes discord among the ... See full summary »
Rising reporter Michael Ward is a key witness in the murder trial of young Joe Briggs, who is convicted on circumstantial evidence while swearing innocence. Mike's girl Jane believes in Joe and blames Mike, who (in a remarkable sequence) dreams he is himself convicted of murdering his nosy neighbor. Will his dream come true before Jane can find the real murderer? Written by
Rod Crawford <email@example.com>
The Stranger On the Third Floor may be the first film noir. It's certainly one of the earliest American pictures that can be defined as such. The story revolves around a young reporter who is responsible for the conviction of an ex-con who, as things turn out, seems not to be a murderer after all. As the film develops the reporter himself becomes a suspect for the murder of a particularly obnoxious neighbor with whom he'd had a number of confrontations. The reporter's girl-friend becomes his savior, and she traps the real killer, Peter Lorre (who else?) and saves the day. The movie is splendidly dark and foreboding, deliberately unrealistic, like an experimental play, and it has a full-scale nightmare, very well-done, in the bargain. It is thematically similar to mostly much later and somewhat more elaborate films of the forties by Siodmak, Lang, Dmytryk and Dassin, and in its modest way it can hold its own with the best of them.
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