Germany suffered great economic collapse in the aftermath of the First World War. As German films were exported to other countries in the late 1920′s, these films would reach the shores of nations were economies were also suffering equal economic problems. While it is true that escapist genres such as comedy were hugely popular during the depression era, there were audiences immersed in anxiety over their economic woes. The dark images of German expressionist noir films allowed such audiences to wallow in the darkness of their anxiety and fear. This is not to say such films were presentations of a world without hope. Rather, the films simply reflected the less than perfect image of the world many suffering in it experienced.

The short review is pretty much that Double Indemnity is the quintessential film noir. Hands down.

However, I’ll elaborate for first timers – both to the site and film noir as a whole. Film noir is a genre of film often described as a stylish, Hollywood crime drama. Most traits of film noir include internal dialogue, a gritty anti-hero, a dame to kill for, a mysterious murder and no small amount of intrigue, thrills and violence.

There are also stylized aspects of the film noir genre as well. Shots set up to create a sense of tension in a scene. Vertical blinds or bars in a staircase, casting prison bar shadows across the face of the protagonist. That sort of thing.

Double Indemnity covers all of these angles, all while delivering blockbuster performances from some of the best actors of the time. Fred MacMurray, as Walter Neff, portrays the archetypal man who falls for the girl and shows us how it all goes downhill.

Regarded as a classic and worthy of preservation by the Library of Congress, if you are new to noirs, then this is the best one to start you off. Heck, if you have direct tv deals or something that gives you access to the classics, you might just find it floating around there.

The Austrian actor first came to prominence in Fritz Lang’s masterpiece, M. The film was a milestone achievement in the history of cinema. It was one of the first police procedural-type films, and is also often seen as the precursor of the noir genre. Lorre depicted a child killer in what was a chillingly convincing performance. The director of M, Fritz Lang, used his background in German expressionist film making to craft the dark, shadow-filled underworld of the film.Additional information can be found at http://thepeoplesmovies.com/2012/05/competition-win-fritz-langs-live-75th-aninversary-edition-dvd/. The noir genre borrowed this style along with some of its darker themes. Lang even ended up directing several noir films in Hollywood.

Lorre, a Hungarian Jew, was forced to move to England to escape the Nazi party in Germany. There he was cast in Hitchcock’s The Man Who Knew Too Much. He learned his lines phonetically as he did not know English. Eventually he joined his director Fritz Lang in Hollywood, where he carved out a successful career playing weasels, criminals and other underworld types in classic films such as Casablanca and The Maltese Falcon.

The first film version of The Maltese Falcon was made in 1931; it is sometimes known as Dangerous Female to distinguish it from the subsequent adaptation. Made before the Hays Code, it had sexual content and language that required censorship during re-release; this prompted Warner Bros. to make Satan Met a Lady, a 1936 pseudo-adaptation that changed several key details.

The most famous Maltese Falcon is the 1941 version, directed by John Huston and starring Humphrey Bogart and Mary Astor. Also made to Hays Code specifications, this version was much more popular than Satan Met a Lady and is widely cited as one of the greatest movies ever. It inspired The Black Bird, an unpopular comedic sequel, in 1975. Can’t get enough? There’s more: Movies That Everyone Should See: “The Maltese Falcon”

During her long film and television career, she was in at least eight film noir movies. She was a trailblazer even writing, directing and producing a couple films from this era.

She starred alongside such Hollywood greats as Humphrey Bogart and Richard Widmark. It may be hard to find one of these classics, but they are worth the Trouble. One of her best film noir roles is in the movie “Roadhouse.” Lupino’s portrayal of the sultry singer Lily Stevens is amazing. In the film genres true style, there is a love triangle and double crossing.

If you can find it, I also recommend “Private Hell 36.” Ida co-wrote, produced and starred in this gritty film noir. It was one of her best performances. The movie shows how multi-talented she was. The award-winning actor defined the beautiful and tough women of film noir. Her performances have left a legacy and body of work that will not be forgotten.

Exploring the films that have been most well received can give you the highlights of the genera, as well as the chance to enjoy a classic film that you would have otherwise missed. Searching online for the information, history and cultural reception these movies have received will give you a much better understanding of the impact they have made over the years. Making it a point to watch some of the best reviewed and most popular movies of this genera can give you a greater appreciation for the movies and characters that have contributed so much to the world of film.

Born in Chicago in 1909, Ryan entered show business as a playwright but found greater success in acting roles that he took to support himself. He appeared in a few movie during the early 1940s and, after a short bout in the Marines, received his big break in 1947′s Crossfire. His depiction of the anti-Semitic murderer Montgomery would earn him an Oscar nomination (Best Supporting Actor).

Ryan went on to play villains in other movies, but also became known for tough but emotional heroes, like boxer Bill “Stoker” Thompson in The Set-Up (1949) and grizzled cop Jim Wilson in On Dangerous Ground (1951). He also had parts in The Naked Spur (1953), House of Bamboo and Bad Day at Black Rock (both 1955).

A civil rights activist and pacifist after marrying his Quaker wife Jessica, Ryan noted the disparity between his personal beliefs and the films he starred in. This probably explains his role in Odds Against Tomorrow, the first noir film with a black protagonist. You thought this was good? Brace yourself: Born to Be Bad (1950)