Based on the yellow framed novels by authors like Agatha Christie, it was Mario Bava that made the world wake up to the Giallo thriller, during the 1960's actively producing these movies. It was his 1964 movie Sei donne per l'assassino better known as Blood And Black Lace that really woke up the world.

Blood And Black Lace followed a killer as he hunts down key figures in the fashion industry, the killer became a hallmark for future movies fitted out in an all black outfit with black gloves and a balaclava to disguise the identity. Beyond the story the movie itself was so terribly different to other thrillers, with lurid colours and well laid out shots this was borderline to become a work of art rather than film. It's artwork that takes us onto our next movie...

Made in 1970, a little known individual entered the Italian directorial foray having worked on the script for the movie Once Upon A Time In The West, that man was Dario Argento, the movie in question was L' Ucell dale piume di cristallo (Bird With The Crystal Plumage), a visually stunning piece of filmmaking that went more than pushing the limits between movies and art. Shot with big empty looking wide frames, Argento's movie focussed more on what you thought you saw rather than what you actually did. It was this view that took his 1975 movie Profondo Rosso (better known in the English speaking world as Deep Red) into the big time. It's casting of popular British actor David Hemmings opposite Italian acting royalty Daria Nicolodi proved an invitation too desirable to resist, and it's just as well they did. In all my years I have never encountered anyone who does not agree that Deep Red is a great movie. It's opening scenes including a rather brutal murder seen from a piazza become engrained in your brain as one of the most memorable murders in the movie industry.

The wonder of Deep Red is intense, from its very tight knit comedy, moments of horror, and a storyline so cleverly put together that even though the eagle eyed might identify the killer from the offset and you are in reflection clearly shown the murderer, you kind of don't see the killer, asa result you guess to the very end who it might be, even though subconsciously you have already been told.

Chi l'ha vista morire? AKA Who Saw Her Die? Made in 1972 pairs of brutality with beauty and disgust. The story of a vicious child killer is combined by a pretty disturbing view of life in Venice, and a hauntingly beautiful score by Italian composer Ennio Morricone. Starring ex James Bond George Lazenby, the movie is quite amazing to watch, curious and compelling. The same director Aldo Lado, the year previous to this bought an ingenious thriller to cinemas, in Short Night Of The Glass Dolls a man is murdered, but his death is by paralysis, a drug in fact that give the impression of death to the outside viewer. The victim however is very much alive, but unable to let anyone know, in his mind he tracks back through recent events trying to identify his killer.

The Strange Vice Of Mrs. Wardh inspired Quentin Tarentino when making his movie Kill Bill, in the movie a woman played by Edwige Fenech has a secret in her love life, but secrets are destined to lead in death. This movie was the most American looking of the Giallo films, although it clearly is Italian.

Rings Of Fear and What Have They Done To Your Daughters? Both deal with the teenage sex industry, and rather the exploitation of schoolgirls for the pleasure of sexual gratification of the rich; but whereas American and English movies are only just scratching the surface with these sort of movies, Italy was doing so 30 years ago.

Dario Argento returned to Giallo in the early 80's with the movie Tenebrae, a story of revenge thats roots lay heavily in the past. Tenebrae like Deep Red was influential in its style, and desirable in its beauty, with vivid red colours (especially in shoes) and the most imaginative murders you could think of Tenebrae is the ideal place to end my starting suggestions into the world of the Giallo movie.

In Giallo murder is never straight forward, each director/writer would go out of their way to deliver something more elaborate and horrifying than the predecessor, from heads being pulled off by elevators, to odd sculpture murders. While movies like Fragment Of Fear, Blow Out, and Malice might try to capture the magic of Giallo, this is a unique style that it most definitely Italian, but don't take my word for it, check it out for yourself.

• 1931

  • M

    Prototypical noir directed by Fritz Lang and starring Peter Lorre. In German with English subtitles. This is a German Expressionist film about a child murderer and is essential in helping viewers see the influence of German Expressionism film upon subsequent noir films in America.

• 1934

  • They Made Me a Criminal

    Interesting early noirish film directly by Busby Berkeley starring John Garfield as boxer on the lam and Claude Rains as his pursuer. The film begins in the corrupt city but soon makes the leap to the undefiled country where Garfield gets involved with the Dead End Kids who are working on a farm. Sunny noir.

• 1936

  • The Wrong Road

    Young lovers noir directed by James Cruze (The Great Gabbo, I Cover the Waterfront). Lionel Atwill wants the stolen $100,000 back but wants to help the misguided thieves even more. I’ve always believed in you kids from the very start.” See also You Only Live Once, Gun Crazy, They Live by Night, Side Street, etc.

• 1939

  • Convict’s Code

    Lambert Hillyer’s parolee noir. Falsely-accused ex-football star “Whiz” Tyler (Robert Kent) gets out of prison and wants to clear his name. Cinematographer Arthur Martinelli’s uses Expressionistic shadows to advantage. See Fritz Lang’s American noirs You and Me and You Only Live Once.


• 1944

  • Bluebeard

    Edgar G. Ulmer’s tale of horror. Perhaps thematically a noir but, though atmospheric, not a noir visually. John Carradine is the murderer who strangles the women he “paints.”

  • Lady in the Death House

    Steve Sekeley directed this film, most notable for its use of flashbacks. Its title (and thus basic situation) is its most noirish aspect. Stars Jean Parker who was also featured in Ulmer’s Bluebeard.


• 1945

  • Detour

    Ulmer’s noir masterpiece. Exemplary noir both in look and in theme. With Tom Neal as the hapless sap Al Roberts and Ann Savage as Vera, the femme fatale. Nasty noir.

  • Scarlet Street

    Fritz Lang’s remake of Jean Renoir’s La Chienne (The Bitch) from 1931. Scarlet Street is a wonderful noir starring Edward G. Robinson, Joan Bennett, and Dan Duryea. Though sanitized in the Hollywood way, this is true gutter noir. Even the ending irony is dark.

  • Strange Illusion

    Not to be confused with Anthony Mann’s noir Strange Impersonation of 1946. This is Edgar G. Ulmer’s Hamlet noir. A dream warns the young protagonist that his mom shouldn’t remarry, particularly the man who murdered his father. “Mother, no! This man isn’t Father!”

• 1946

  • Shock

    Evil doctor noir starring Vincent Price and Lynn Bari. Directed by Alfred L. Werker (He Walked by Night).
  

  • The Stranger

    Orson Welles directs and stars along with Loretta Young and Edward G. Robinson in this New England, disguised-Nazi noir. Compare to Hitchcock’s Shadow of a Doubt (1943), the prototypical sunny noir compromised by the shadow of foreign menace.

  • The Strange Love of Martha Ivers

    Outstanding cast (Barbara Stanwyck, Kirk Douglas, Lizabeth Scott, and Van Heflin—all to have significant careers in noir films) in Lewis Milestone’s psychologically complex noir.

• 1947

  • My Favorite Brunette

    Parody noir with Bob Hope, Dorothy Lamour, and Peter Lorre. Directed by Elliott Nugent.

  • The Red House

    Absolutely fascinating though unconventional psychological noir starring Edward G. Robinson (Scarlet Street, The Stranger) and Judith Anderson and directed by Delmer Daves. Creates a noir atmosphere out of country sunlight.

  • Fear in the Night

    Hypnotism noir directed by Maxwell Shane and starring DeForest Kelley (aka Dr. “Bones” McCoy of Star Trek) and Paul Kelly (Crossfire, The File on Thelma Jordan, Side Street). Voiceover. Mirrors. Visually stylish. “All the evidence points to me!” theme. Plausible villain. From a Cornell Woolrich story. See Black Angel, The Blue Dahlia, The Blue Gardenia, etc.


• 1948

  • He Walked by Night

    Police (Jack Webb) pursue cop-killer (Richard Basehart) noir. Directed by Alfred L. Werker. Compare the ending of He Walked by Night with the ending of Carol Reed’s The Third Man out the following year. Its documentary nature also bears comparison with Jules Dassin’s The Naked City (also 1948).

  • The Amazing Mr. X

    Con-man noir with Turhan Bey, Lynn Bari (Shock), and Cathy O’Donnell (They Live by Night). Outstanding cinematography by John (“It's not what you light - it's what you DON'T light”) Alton. Directed by Bernard Vorhaus.
  

  • Inner Sanctum

    Twilight Zone noir—turns on a mystical prediction. Gritty sizzle noir directed by Lew Landers. With Charles Russell and Mary Beth Hughes (The Great Flamarion).

  • The Scar or Hollow Triumph

    Deeply ironic noir with Paul Henreid and Joan Bennett (Scarlet Street). Well directed by Steve Sekeley (Lady in the Death House).


• 1949

  • Jigsaw

    Fletcher Markle’s socially-conscious film about a conspiracy of extremists. Considered noir by some but lacks characteristic noir plot, characters, look, and tone. Stars Franchot Tone (The Man on the Eiffel Tower). Notable for multiple cameos by famous Hollywood actors and actresses (John Garfield, Henry Fonda, Marlene Dietrich, Burgess Meredith...) who supported the film’s moral and political viewpoint.

  • Port of New York

    Drug smuggling New York noir with Yul Brynner with hair. Directed by László Benedek. See Borderline.

  • Impact

    Impressive noir from Arthur Lubin starring Brian Donleavy, but it’s the women who dominate this film: Ella Raines as Marsha Peters, Anna May Wong as Su Lin, and Helen Walker, despicably delicious as Irene Williams. The film is Shakespearean in its ABA structure, the “green world” being Larkspur, Idaho, and San Francisco as the frame city.
  

  • D.O.A.

    Edmund O’Brien (The Killers, White Heat , The Hitch-Hiker) poisoned and dying in San Francisco as the film opens, the action of the movie is the search for the identity and the motive of his killer. Classic noir from Rudolph Maté.

  • Too Late for Tears

    Bryon Haskin directed this femme fatale noir that has Arthur Kennedy and Dan Duryea (Scarlet Street, Black Angel, The Great Flamarion) up against the deadly avarice of Lizabeth Scott (The Strange Love of Martha Ivers).

• 1950

  • The Second Woman

    Underrated noir with Robert Young and Betsy Drake. Atmospheric and psychological like The Red House. Chandleresque twists. Directed by James V. Kern.
  

  • The File on Thelma Jordan

    Barbara Stanwyck (The Strange Love of Martha Ivers, Double Indemnity, Clash by Night) as a femme fatale who grows a soul. With Wendell Corey as another of the helpless noir males who succumb to females whose hearts are in the wrong place. Directed by Robert Siodmak.

  • Borderline

    William A. Seiter noir about drug trafficking stars Claire Trevor (Murder, My Sweet; Born to Kill; Raw Deal,) working for the police. She gets involved with two criminals: Raymond Burr (Raw Deal, Pitfall, The Blue Gardenia) and then Fred MacMurray (Double Indemnity). Begins as noir, transforms to comedy. “It Happened One Noir.” See The 39 Steps.
  

  • Quicksand

    Irving Pichel’s unrelenting noir starring Mickey Rooney whose lust for Jeanne Cagney leads him to theft to feed her greed. Also with Peter Lorre (M, Quicksand, My Favorite Brunette, Beat the Devil). Downward-spiral noir. See also Detour, Pitfall, The File on Thelma Jordan, etc.
  

  • Panic in the Streets

    Chase noir with Richard Widmark (Kiss of Death, Road House, Night and the City, No Way Out, Don’t Bother to Knock, Pickup on South Street) as the chaser and plague-ridden Jack Palance (Sudden Fear) as the chased. With Barbara Bel Geddes, Paul Douglas and Zero Mostel. Directed by Elia Kazan.

  • The Man on the Eiffel Tower

    Paris chase noir directed and starring Burgess Meredith. With Charles Laughton as Georges Simenon’s Inspector Maigret and Franchot Tone as the Nietzschean villain Johann Radek. Compare Radek with Harry Lime in Carol Reed’s Viennese noir The Third Man, also 1949.


• 1951

  • Cause for Alarm!

    Brilliant Loretta Young film, noir because of its nightmarish, noose-tightening plot. Directed by Tay Garnett (The Postman Always Rings Twice¬). A subset of sunny noir; one might call it suburban noir.

• 1952

  • Kansas City Confidential

    John Payne taking revenge against the men who framed him: Jack Elam, Lee Van Cleef, and Neville Brand under the leadership of Preston Foster. The gang doesn’t know each other. They’ve always worn masks! Coleen Gray as the love interest. Outstanding noir. Iconic images abound.


• 1953

  • Beat the Devil

    Parody noir scripted by Truman Capote. Only slightly more serious than My Favorite Brunette. Top notch cast (Humphrey Bogart, Jennifer Jones, Gina Lollobrigida, Robert Morley, Peter Lorre), top notch director (John Huston).

  • The Hitch-Hiker

    Wonderful noir directed by Ida Lupino, star herself of many classic noir films (High Sierra; They Drive by Night; On Dangerous Ground; Road House; The Man I Love; Beware, My Lovely; and her own directorial effort The Bigamist). The small cast all brilliant: Edmond O’Brien (The Killers, White Heat, D.O.A.), Frank Lovejoy, and William Talman as Emmett Myers, the psychopath kidnapper who sleeps literally with one eye open.


• 1954

  • Suddenly

    Psychotic-killer noir starring Frank Sinatra as John Baron, would-be presidential assassin. With Sterling Hayden (The Asphalt Jungle, The Killing) as the good guy. Small town noir. The infiltration of big city evil. Anticipates The Rifleman.

All films are available on the internet.

See The Internet Movie Database for detailed information on individual films.

Stills by Bill Yarrow from public domain versions of the films

This information is current as of April 30, 2008

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With a spine-tingling plot that equals The Ring, the Pang brothers spin a terrifying web about a girl named Mun (Angelica Lee) who has an eye operation and suddenly acquires a third eye and the unwanted ability to see dead people. Sounds familiar? But with the Pang Brother's excellent story telling skills and wonderful shots, the movie has been a huge success in Thailand and other parts of Asia.

Take Two: Gothika screenwriter Sebastian Gutierrez has been tapped to do the US version of The Eye.

The Grudge

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Audiences thought they'd seen all the Asian horror movies, then came Ju-On, or as it more popularly known, The Grudge. Takashi Shimizu wrote and directed this chilling story about a vengeful spirit who inhabits a house. Anyone who enters the house is tracked down by the cursed of the Ju-On.

Take Two: Shimizu still remains at the helm of the American version, still set in Japan and which has TV's vampire slayer Sarah Michelle Gellar in the lead role.

Infernal Affairs

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One of the biggest movies in Asia is a cop story about the never-ending war between the police and the triads of Hong Kong. There's a cop who infiltrates Hong Kong triad; and a triad spy who pretends to be a cop and has moved up the ranks. It's a cat-and-mouse game as both undercover agents try to find out each other's identities. Its one of those movies every serious film buff ought to watch.

Take Two: This award-winning film has caught the attention of many Hollywood players when it came out in 2002. Big names like Brad Pitt (who's one of the producers) and director Martin Scorsese are just some of the people behind the US-version, called The Departed. Matt Damon and Leo Di Caprio are rumored to be taking on the lead roles.