Film noir is perhaps the most divisive genre in cinematic history, largely because many don’t even consider it a genre to begin with. Those of us who do, however, think of film noir as one of the defining genres of Hollywood’s Golden Age, producing some of the period’s most timeless and acclaimed movies, from foundational pieces like The Maltese Falcon to game-changing efforts like Double Indemnity.
Indeed, many of the best-known noirs are widely acclaimed as defining triumphs of the genre. However, that doesn’t mean that there aren’t many other noirs that can still be considered masterpieces despite having one minor flaw or even two. These movies are the subject of this list, wonderful contributions to the genre that have stood the test of time and remain highly praised despite not being flawless per se. For the sake of simplicity, this list will focus solely on classic film noir movies, which means no ne-noirs.
‘The Letter’ (1940)
Few actors had a better career throughout the ’80s than the mighty Bette Davis. The two-time Oscar winner shone throughout the decade by playing her famous villainesses, complex characters who built up her reputation as one of the most fearless and versatile performers of her generation. The decade started with The Letter, a noir about Leslie Crosbie (Davis), a woman arrested in Singapore after killing a man who she claims tried to take advantage of her. However, her attorney soon discovers holes in her story.
The Letter follows a classic noir narrative, and Davis is the perfect femme fatale. As the duplicitous but fascinating Leslie, Davis pulls all her best qualities on display: she’s challenging but magnetic, a true force of nature that instantly commands your attention and dares you to trust her even when everything says you shouldn’t. The Letter features a satisfying twist and a suitably tragic ending, but the real reason to watch it is Bette Davis. The actress earned her fourth (or fifth, depending on who you ask) Oscar nomination for the movie, and it was richly deserved.
‘Mildred Pierce’ (1945)
The iconic Joan Crawford won her only Oscar on her first nomination for playing the shifting titular heroine in Michael Curtiz‘s 1945 melodrama Mildred Pierce. Adapted from the eponymous 1941 novel by James M. Cain, the film follows the complicated life of Mildred Pierce, who must care for her two daughters after her husband leaves her. Finding success in the restaurant business, Mildred soon learns that her biggest enemy is her own daughter, Veda (Ann Blythe).
Screenwriter Ronald MacDougall made several changes to the book, most notably giving it the noir treatment by framing the story as a flashback during the investigation into the death of Mildred’s second husband, Monte (Zachary Scott). From there, Mildred Pierce follows a traditional noir structure, coupled with a complicated and often duplicitous protagonist and a femme fatale in the form of Blyth’s Veda. The main reason to tune in, however, is Crawford’s Oscar-winning, timeless turn as Mildred Pierce, one of the greatest characters in the ’40s. Mildred might not be heroic or easy to root for, but, boy, is it riveting to watch her go through life with twice the resilience and resourcefulness of the average person.
‘The Killers’ (1946)
The Killers was the film that turned Burt Lancaster into a star. The actor plays boxer Pete Lund, who is killed in the opening sequence by two hitmen. Insurance detective Jim Riordan (Edmond O’Brien) looks into the case, specifically why Lund didn’t resist his own murder and his connection with the femme fatale Kitty Collins (Ava Gardner). The film is based on the 1927 short story by Ernest Hemingway.
Not only does The Killers feature one of the greatest opening sequences in noir history, but it also boasts a terrific performance from Lancaster, who is so assured that it’s hard to believe you’re seeing his feature film debut. As the tragic Lund, Lancaster is weary and increasingly broken, embodying the classic noir protagonist to a tee. The high point, however, is Ava Gardner’s Kitty Collins, one of the genre’s most infamous femme fatales. The Killers is now widely regarded among the all-time greatest noirs; in fact, it is the one movie based on Hemingway’s work that the writer actually approved of.
‘Dark Passage’ (1947)
Probably the least famous of the Bogart and Bacall collabs, Dark Passage might certainly be the weakest, too. Alas, a weak Bogie and Bacall is still far better than most other movies, so there’s that. The film follows a man who recently escaped prison, where he was serving time for a crime he didn’t commit. He means to undergo surgery to evade the authorities, and finds companionship in a young woman who agrees to help clear his name.
Dark Passage‘s story might be a tad more gimmicky than most noirs, and the plot is filled with more holes than a slice of Swiss cheese. Yet, Bogart and Bacall are so incredible together that it’s easy to forgive the film’s shortcomings. The duo shared a legendary chemistry, and Dark Passage makes excellent use of it. Not even a face full of bandages can stop the heat that these two exuded, making the film not only a riveting noir mystery but also a sweet tale of romance in the most unlikely places. Plus, it actually has a happy ending, a rarity in the shadowy world of noir.
‘Sorry, Wrong Number’ (1948)
Two years after The Killers, Lancaster stepped into the shoes of another noir protagonist, this time of the villainous type. The actor stars opposite noir icon Barbara Stanwyck in Anatole Litvak‘s Sorry, Wrong Number, adapted by Lucille Fletcher from her eponymous radio play. Stanwyck plays Leona Stevenson, a spoiled, bedridden heiress who accidentally hears two pen plotting a murder after their phone lines get crossed. Lancaster plays Leona’s husband, Henry.
Like most other movies on this list, Sorry, Wrong Number lives and dies with the central performance, in this case, Stanwyck’s intense, Oscar-nominated turn. In what basically amounts to a one-woman show, Stanwyck is stellar as the victimized Leona, whose mounting desperation provides the film with tension, drama, and agony. The ending is bleak, even for noir standards, but that doesn’t make Sorry, Wrong Number any less worthwhile. It’s genuinely sad that not many might be aware of this gem, but it’s never too late to discover it.
‘Touch of Evil’ (1958)
Orson Welles‘ Touch of Evil is a seminal entry into the noir canon that has aged pretty well, all things considered. The film follows an investigation into a bomb that goes off on the Mexico-USA border. Mexican drug enforcement agent Miguel Vargas (Charlton Heston) and US Captain Harry Quinlan (Welles) head the investigation, but when Vargas begins to suspect Quinlan is framing an innocent man for the crime, his life will be in peril.
Touch of Evil has become quite famous for its opening sequence, featuring the best first five minutes in the noir genre. The one-shot sequence, with Welles’ camera following the car from the moment the bomb is planted all the way to when it crosses the border, is a masterclass in building suspense. Welles’ deplorable performance as Quinlan is another of the film’s strongest elements, with the narrative becoming a deconstruction of this man’s duplicitous character. Strong supporting performances from Janet Leigh and Marlene Dietrich further enhance Touch of Evil‘s impact. Of course, if there’s one major flaw at the center of this otherwise perfect movie, it’s the questionable choice to have Charlton Heston in brownface, which has aged like milk under the sun.
‘Odds Against Tomorrow’ (1959)
Quite possibly the most underappreciated movie on this list, Odds Against Tomorrow is nonetheless a brilliant entry into the genre. Ed Begley stars as disgraced police officer David Burke, who forms a makeshift crew, including racist ex-con Earl Slater (Robert Ryan) and Black entertainer Johnny Ingram (Harry Belafonte), in an attempt to rob a bank. Although the three men are widely different, they still band together to pull off the heist and, hopefully, turn a new leaf.
In many ways, Odds Against Tomorrow is more of a melodrama than a traditional noir. The story of these three men is very much a cautionary tale, and the film ends with all the tragedy you might expect from a classic noir. However, the story also goes to great lengths to explore the central issues of racial tension and concludes with a very on-the-nose but still effective message about equality. Odds Against Tomorrow is at its best when focusing on the complicated road towards the heist, crafting a taut crime drama that deserves far more attention from modern audiences.