Four Film Noir Classics Vol 2 is a recent boxset focusing on Universal studio-released noirs of the ’40s & 50s. The boxset is from Arrow Video, with each film getting its own disc, new scan, and a selection of commentaries & extras. With a fair & good selection of the different types of noir featured here- all making for largely a consistent box set.

Opening up the set on disc number one we have The Suspect, which is more of a drama-come-thriller take on the noir form. It follows an unhappy married businessman, who befriends a younger woman- then his wife seemingly dies in an accident, though one Scotland yard detective thinks something amiss. The film is from the year 1944 and was helmed by Dresden Germany-born Robert Siodmak. Between the early ’30s and the late 60s, Siodmak had sixty credits to his name – these went from comedy film noir The Man in Search of His Murderer (1931), romantic comedy Parisian Life (1936), horror Son Of Dracula (1943), a few late 40’s/ early 50’s noir-like Deported, Cry Of The City, and Crisscross.

The film is set in 1901 London, which is a fairly unusual period/ setting for a noir. It focuses on Philp Mashall( Charles Laugthon)- who runs a tobacconist and is married to the constantly bossy/ belittling Cora(Rosalind Ivan). The pair's married is on very shaky ground, and early on in proceedings, he moves from their marital bedroom after the pair's twenty-something son John (Dean Harens) moves out of the family home.  

One day a down-her-luck twenty-some Mary( Ella Raines) steps into Philp's office- she’s looking for secretarial work, but they are fully staffed. As Philp is on his way home he finds Mary crying on a bench- so he takes her for something to eat, and from here a relationship develops between the two.  Philp is considering getting divorced- but all of a sudden Cora seemingly stumbled and falls down the stairs, and dies- with the funeral follows soon after, and all seems to be going well in Marshall's life. This is until in steps into the story Inspector Huxley( Stanley Ridges), who thinks something is amiss with how

We don’t see Cora's death, so initially, the viewer is also pulled into the mystery of whether or not Philp is a killer or not. And as we unfold, we get some wonderfully tense moments. As well as some moments of classic visual noir- with characters moving through the misty night-time city,  and intrigue/ accusation from in the shadows.

Cast wise Laugthon shows acting talent as the seemingly amicable/ honest businessmen, with wonderful use of subtle facial expressions. For her short time in the film, Ivan is perfect as the constantly berating his husband and son wife Cora. Other worthy mentions are Raymond Severn as young bicycle delivery boy Merridew, who Laugton treats kindly.

The film runs at one hour and twenty-four-minute mark- and for its first quarter platy more like a drama. But beyond this point the tense/ thriller elements are nicely amped & tightened up, we the viewer are left on the edge of their seat right until the end. So, it’s a film you need to hang in with for a bit, before the thriller/ noir elements wholly kick in.

Extra wise on this disc we get a commentary track from film historian Farran Smith-Nehme- this is well-researched and often interesting, though she does have a tendency to dart around a bit in her focus. She begins by mentioning that the film was both Laughton's & his wife’s favourite film of the actor's output. She talks about the director's career in fits and starts- going right back to his childhood, discussing how he first got into film making title cards in his native Germany for US films, and touching/ discussing many of his films. She discusses the career of Ella Raines, points out support cast members to talk about their other work.  Later on, she discusses the true crime case the film is roughly based on the case of Dr Crippen, who in 1910 murdered his wife- going on to compare the characters in the film to those in the case, and how in recent years there has been some doubt if the Dr actually did kill his wife.  She talks about the gaslight noir sub-genre this film sits in, and other notable films. Talks about Laughton’s love of cats, and more. Otherwise, on the disc, we have  It Had to be Done (40.36) which finds author and scholar Alan K. Rode talking about the career of the film's director Robert Siodmak- how he influenced the development of the noir genre in general, and the film to hand, and his other additions to the genre. Lastly, we have a vintage radio play of the film story featuring Charles Laughton & Ella Raine, and an image gallery.

On disc two we have The Sleeping City( working titles Confidential Squad & Web Of The City )- this is from the year 1950, and is a uncover police investigation noir set in a New York hospital, where a medical intern is killed. The film was directed by New York City-born George Sherman. Between the late 1930s & early 1970’s he had an impressive one hundred and thirteen credits to his name. These went from a selection of 1930s Westerns such as Wild Horse Rodeo, Riders Of The Black Hills, Rhythm Of The Saddle, and Three Texas Seers. Moving onto mystery False Faces(1943), comedy Feudin', Fussin' and A-Fightin'(1948), cold war crime drama Spy Hunt(1950), and WWII romantic drama The Enemy General(1960).

After an introduction from one of the films actors inform us that the film was shot on location in New York's Bellvue Hospital. The film opens in a fairly bleak manner- as we see a worn out, jaded, and on-edged medical intern on a long shift going out for a cigarette on a grey New York morning, to be unceremoniously gunned down by an unseen figure. The  NYC cops appear on the scene, led up by tubby police inspector Gordon(John Alexander), and after some poking around/investigating it’s decided they need to put an undercover man in the hospital.

And this is when undercover officer Fred Rowan(Richard Conte) steps into the story, he’s sent to the Bellvue Hospital as an intern Doctor Fred Gilbet. He’s put on the orthopaedic ward, and here he meets head nurse Ann Sebastian(Coleen Gray), and it’s clear there is chemistry between the two. He’s sharing a room Dr Steven Anderson(Alex  Nicol)- who is a rather troubled & unpredictable figure, who fairly soon declares he’s going to quit his medical career, as he has so worn down by it. The next thing he’s found dead, and Fred is brought into for questioning.

We get to see a fair bit of the huge hospital early on with a tour of the facility, and we also get moody shots of the grey city skylines and shadowy wards. The acting from the two leads Conte & Gray is well realized, with both having a few moody to dramatic turns throughout the film. Other worthy mentions are character actor Richard Taber, as ageing & seemingly jovial Irish American hospital porter ‘pop’ ware.

The film runs around the one hour & twenty-six-minute mark- with the mystery of what is really going on nicely kept under wraps for much of its runtime, with the whole thing rounding off with a rooftop chase, and a moody confrontation. With film sliding out as it began on a rather bleak/ glum tone. All in all, a most engaging noir, which has an almost stark documentary feel, and the hospital setting is interesting/ effectively used.

On this disc extra wise we have a commentary track from film critic/ historian Imogen Sara Smith, and this is excellent- been a great blend of research and insight. She begins by talking about how this is the only noir set in a real hospital, and how the introduction was added on later by the request of the New York major- to clarify this is an act of fiction and the wonderful job all the staff at Bellvue Hospital.  When getting into the main of the film she comments on the feeling of terminal grimness that’s present from the off. She points out supporting actors, and their other notable roles.  She discusses the film's grey-toned blend of pseudo-documentary & police procedural- moving on to talk about how the pseudo-documentary form came about. We get interview quotes from the actors at the time of the film's release. She talks about the career of Richard Conte, how he was one of the first Italian American lead actors, and his work within the noir genre/ type of roles he took. Later on, she discusses key dialogue scenes, and their themes/ meanings.  She talks about the year 1950 being the most productive in the noir genre, and how the form shifted from the often backlot filmed 40's films, to the flatter more location-based films of the 50s.  She discusses the scenes set in a real police station, and how the director/ crew were set up for filming. She talks about the tropes of certain characters, great lines from the script, and much more. A great track, that I’ll certainly revisit down the line. Otherwise, we have The Real Deal ( 11.33) a visual essay that finds author and critic Alexandra Heller-Nicholas looking at realism and reality within the film. There’s a trailer and image gallery.

On disc number three we have Thunder on the Hill. This is from 1951, and is set near Norwich UK- during a flood, when a convicted murderer, due to be hung, has to take shelter in a convent hospital.  The film was directed by Hamburg, Germany-born Douglas Sirk.  He had forty-two feature lengths to his name- these went from the rural drama The Girl from the Marsh Croft(1935),  film noir Summer Storm (1944),  wartime adventure Mystery Submarine(1950), roman empire set adventure drama Sign Of The Pagan (1954), and racial melodrama Imitation Of Life (1959). 

Thunder on the Hill rather opens akin to a gothic horror film, as we see a group of people struggling through rain-lashing & thunder striking night time- with gothic texted credits over top. Then we see the people, and their animals ushed into a hill set convent hospital. Here we meet Nurse Sister Mary (Claudette Colbert)-  who came late to the faith after a troubled life, but is now one of the most committed members of the convent, quickly working her way up the ranks. 

After the initial rush of local people, sister Mary is told that a group of three people are looking for fuel as they need to get Norwich ASAP. One of their number is Valerie Carns(Ann Blyth) who has been convicted of killing her brother, and is due to be hung in Norwich the next morning.  Shortly after the group arrive the dam breaks leaving them stranded in the convent hospital. And as things unfold Mary is certain that Valerie is not the killer of her brother, and someone else is responsible. So with the help of quirky glasses wear cook Sister Josephine (Connie Gilchrist)  she goes about trying to prove that Valerie is innocent.

The film starts off nicely moody, and fairly dramatically tense- but sadly does start to drift into melodrama/ cliché, we even have a backwards & unpredictable violent handyman Wille( Michael Pate).  Some of the investigation/ resolve is fairly engaging, and we have a quite effective/tense in the brief finale/ chase.  But the main issue here is Ann Blyth as the convicted woman- often way overacts/  is hammy, and really when she ever appears my attention/ patience is stretched. Both Colbert & Colbert are good enough as the investigating sisters, and some of the supporting cast(aside from some of the dodgy English accent acting) are good too. But sadly, due to the already mentioned issues, Thunder on the Hill is the lesser of the four films presented here.
 
Extra wise on this disc we get a commentary track from Josh Nelson – this is extremely well researched, at times quite thoughtful, though at points it does rather feel like you listening to a lecture about the film & its director. He begins by discussing how director Douglas Sirk is often just talked about in regard of his popular melodramas, and that he touched down in a lot of other genres in his career.  He discusses how this film came along at a crossroads in the director's career- between his early German-made films, and his work in Hollywood. He talks about the way the director uses the camera in the film, his placing of characters in the frame, and use of objects which often connect to the character's personality. He quotes from interviews with the director- regarding his cinematic art.  He talks about the use of lighting in the film, and how the flood setting is used to push the characters to places they wouldn’t normally go.  We find out the picture was all captured on Universal backlots in the US. He touches on the wealth of prison-related imagery in all the director's films. Later on, he discusses the stage show that predated the film, and the difference between the two. He talks about the rather lacklustre response the film got from the critics when it first appeared, and much more.  Otherwise, we get an appreciation of the film from film scholar and critic José Arroyo(25.15) he starts by discussing how the film is best seen in the context of the director's other work. He quotes from negative critical reviews of the time both in the US and the UK. He talks about the West End play being a big success. Touches on other nun-based films of the time, and of course why he feels the film is worthy - this is well worth a play, and rather got me to see the film in a different light. Lastly, we get a vintage radio play version of the film featuring Claudette Colbert and Barbara Rush.

Finally, we have Six Bridges to Cross, which is from the year 1955- this is a cop trying to reform a criminal noir, and its title suggests it is set in Boston.  It was directed by New York City-born Joseph Pevney. In total, he had thirty-eight features to his name, but later on in his career he did a lot of US TV series episodes with fifty-plus credits.  His film credits go from a fair few noir’s like Shakedown & Undercover Girl both from 1950, the horror thriller The Strange Door(1951),  Lou Chaney bio-pic Man Of A Thousand Faces(1957), and airline set disaster The Crowded Sky(1960). 

The film begins on the rough ‘n’ ready streets of 1930s Boston, as we see a group of early teens stealing from market stores and making general mischief of themselves. Recently joined the force  Edward Gallagher(George Nader) is a local beat officer, and he knows of the gang/ tolerates them. One night while out on patrol he notices a local shop has been broken into, he chases the robbers out the back door, and just as they're climbing over the back fence he warns them to stop, the last one doesn’t and gets shot. It turns out he shot one of the gang members, the rather cocky & outspoken Jerry Folrea(Sal Mineo)- due to the way he was shot, we find out he’ll never be able to produce children- this pulls Edward close to the boy, and they start a life long relationship- with the boy giving him information when he can, and the Edward keeping an eye out for him. 

As time goes the actor playing Jerry switches to Tony Curtis, and his life of crime deepens- first going to a youth detention centre for a rape charge for someone else in the gang, onto stretches in the big pen. Jerry & Edward’s relationship remains fairly firm & friendly initially, and he gets to know Edwards's wife & their young child. But at a point, Edward draws a line, as Jerry just can’t seem to fix his ways….though he gets more clever covering his tracks. 

The film is a blend of cop-based chat & action, in the slammer meetings, a few heists where the robbers wear rather neat medical bandages & flat cap disguise, and later some gunplay. The film runs at one hour & thirty-six-minute mark, and while it largely remains engaging there were a few moments of lull here and there.

On the acting front, Curtis is good Jerry, though the switch between him & the young actor playing the kid version of the role is a little clunky/ too soon- as to begin with he’s a man playing a meant-to-be teen, and it just doesn’t work. Nader is ok as the cop making his way up the ranks, and initially trying to see the best in the young crook- though his acting is a little one-note,  and not terribly expressive in places. In finishing Six Bridges to Cross is a not bad take of this type of noir, but it’s certainly not the best example of trying to turn a criminal right sub-genre- with something like 1949’s Knock On Any Door be a finer example of this type of noir.
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On this final disc we have a commentary track from writer/ critic Samm Deighan- I’ve now heard a few of her tracks, and once again this is most worthy.  She starts by briefly commenting about this being one of the first lead roles from a young Tony Curtis, and that the film is based on a true 50’s Boston robbery. Moving on she talks about the book the film is based on They Stole $25,000,000 - And Got Away with It, and its author Joseph F. Dinneen. She discusses the career of the film's director Joseph Pevney- touching on his TV series work, which includes early classic Star Trek episodes, before going in depth about his films within the noir genre. She talks about how the film to hand blends a few genres together, and at its time of release, it would have been just thought of as a crime thriller. She discusses how & why the noir term came about, and how the films in this genre changed/ developed. Later on, she discusses Curtis’s film career, and how in his early roles he often got typecast as ethnic American which he pushed against in his latter career.  She goes in-depth about the true crime case the film was based on the Great Brink's Robbery of 1950. She talks about the way the film effectively splits between the two characters, and much more. Another track I can see myself returning to again. Otherwise, we have Style and Place ( 13.56) which is a visual essay by film critic Jon Towlson discussing the work of celebrated cinematographer William H. Daniels.

The finished release features reversible sleeves featuring original and newly commissioned artwork. Along with double-sided fold-out posters for each film featuring original and newly commissioned artwork. And a hardback collector’s book featuring new writing on the films by film critics Kat Ellinger, Philip Kemp and Jon Towlson.

Four Film Noir Classics Vol 2 is another well-put-together, curated, and nice extras-lined box set from the folks at Arrow Video. With a good selection of different takes on the noir genre,  and nice clean 'n' crisp scans for each film.