TENSION (1949), where the femme fatale (Audrrey Totter) is so brazenly voluptuous that they are compelled to give her her own theme song when her character appears on the screen;
WITNESS TO MURDER (1954), where Barbara Stanwyck and George Sanders take turns jamming it up but are both outperformed by cinematographer John Alton.
On 9/13/91 (a Friday night), Elliot reached back to the one of the earliest manifestations of fear and uncertainty as impacts upon the psychology of the noir protagonist and found a most appropriate accompanying feature, giving us an early glimpse at his special affinity for fashioning double bills;
I WAKE UP SCREAMING (1941)/ FEAR IN THE NIGHT (1947)
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