Forgive the somewhat inaccurate term of British noir, but in some respects it's apt for what it evokes: films that Britain made postwar combining crime and an exaggerated visual style. Thom Ryan, in his Film of the Year project, arrives at 1947, and for that year dissects Carol Reed's Odd Man Out, a film I've often thought unfairly overshadowed by the more illustrious Third Man. It's a terrific post that opens up the film to its detail and underlying crosscurrents.
As for my 1947 project, I do want to look into the impact of the British features on the American market. At this point they did have a prominence on US screens. What I need to discover is how much: how much they were relegated to "art house" contexts and how much downtown, neighborhood, or community cinemas showed them.
“It Feels Good to be a Clinton.”
2 hours ago