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I Love Everything About Noir
Three Faces Of Noir Curse Crime Cringe is a deep dive into the shadowy world of film noir, tracing its roots from German Expressionism through Hollywood’s golden age and into overlooked B-movie gems. This is your fourth book on Noir Films; what drives your passion for this genre?
I love everything about noir – imagination overcoming low budgets, crisp dialogue, sharp black and white photography, willingness to engage with vexed social issues, great acting, direction, sets, and music.
What sets this time period of noir film apart from previous periods, and do you have a favorite period?
French critic Nino Frank described film noir as a new kind of 1940s crime movie that was at its heart a psychological tale. As I say in my book, gangster movies, and horror movies shared some of this psychological edge because many of the cast and crew ( often European expats) went from gangster and horror to noir. But noir was of its time and critically examining that time as few movies before had done. With war, censorship, and social inequality in our present time, it would not surprise me to see new converts to the magic of film noir.
What are some things that you find interesting about the human condition that you think make noir films come alive?
In a bleak period of history when war, corruption, and economic, depression prevail, people are lonely, frightened, and desperate for human contact and peace. Others are consumed by greed, lust, and revenge. Noirs reflect these social reactions.
Do you have any plans to write a new series on Neo-noir and how it has shaped the film industry?
I might. As a percentage of good neo-noirs, (movies made in or after 1960) to overall product, the genre is inferior to noir. With the relaxation of censorship and color favoring the big image, story and character sometimes suffered. That being said, some first or second time directors produced some good neo-noirs. I think they studied low budget noirs and made films with that sort of ambience. A good example is the second feature of Tom Ford, Nocturnal Animals 2016.
Some very good neo-noirs for those who want to know more: Chinatown, A Simple Plan, Blood Simple, The Departed, Unsane, Emily the Criminal
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In six lively pictorial essays, Dowling continues his series on film noir in the public domain.
In the Curse section, Dowling reviews 1940s horror noirs, while Crime examines the 1938 proto-noir Algiers and a 1950s noir directed by Stanley Kubrick. Cringe looks at the noir theme of humiliation in the 1940s and 50s.
Dowling’s sly humor offers comic relief along the path to the joyous darkness that is film noir.
Historical photos abound of classic Hollywood, its movies, and their creators.
This is the final volume of this series on film noir in the public domain, and Dowling reveals his 10 favorite film noirs, with a surprise or two on the list.
Three Faces of Noir Curse Crime Cringe
The book is a deep dive into the shadowy world of film noir, tracing its roots from German Expressionism through Hollywood’s golden age and into overlooked B-movie gems. It weaves together history, criticism, and anecdotes about actors, directors, and the cultural forces that shaped the style. Alongside film reviews of titles like Bluebeard, The Red House, Algiers, and Kubrick’s Killer’s Kiss, the book draws connections between world wars, politics, censorship, and the evolution of the noir sensibility. What comes through most strongly is the author’s conviction that noir is not just a cinematic category but a way of looking at trauma, betrayal, and the darker corners of human nature.
Reading this, I felt a sense of being in a long conversation with a film buff who’s both passionate and sharp-tongued. The writing has a looseness that sometimes wanders, but the enthusiasm makes up for it. I enjoyed the blunt asides and the refusal to bow to accepted “best of” lists. When the author rails against critics who leave out The Red House while praising weaker films, I felt that irritation too. There’s a refreshing lack of pretension here, even while digging into serious topics like war trauma and censorship. The mix of film trivia, political commentary, and personal observation made the history feel alive rather than like a dusty catalogue.
At the same time, the book can feel overwhelming. It piles up names, dates, and filmographies in a way that made me lose the thread now and then. Still, when the pace slows and the author lingers on a single movie or personality, the writing shines. I especially liked the portraits of actors like John Carradine and Edward G. Robinson, where the human stories came through clearly. Those moments made me care not just about the films but about the people who made them, their flaws, and their struggles. I also really appreciated the images and old movie posters sprinkled throughout the book, since they broke up the dense history and gave the whole thing a more vivid, almost scrapbook-like feel.
I’d recommend this book to anyone who has an interest in film history and wants to explore noir from a less conventional angle. It isn’t a neat academic study, and it isn’t a casual “best of” list either. It’s more like sitting in a dim café with a film lover who talks fast, goes on tangents, and sometimes shocks you with an opinion, but always keeps you interested. If you’re open to that style, this book will reward you with passion, detail, and a personal sense of discovery.
Pages: 346 | ASIN : B0FHZKR1LN
Johnny’s War – Volume Two – Storm Clouds Over Africa
Johnny’s War – Volume 2 picks up where the first left off, following the ever-changing and ever-challenging journey of Johnny Pink, a young RAF officer during World War II. The book dives deep into his evolving experience, from the highs of promotion and love to the brutal lows of combat and loss. We follow Johnny as he boards a Sunderland flying boat bound for North Africa, reconnects with old friends, and gradually descends into the heart of war’s emotional chaos. It’s not just a tale of battles and bombers, though. It’s a story about growing up too fast, about finding courage in the unlikeliest places, and about the lasting scars—visible or not—that war carves into people.
Reading this was like being dropped straight into the 1940s, with all its smoke, salt, fear, and tea. The writing is unapologetically immersive. That first vivid attack on the Sunderland—my stomach actually turned. What caught me most, though, were the quiet in-between moments: Johnny’s chats with his mates, his unspoken grief, his longing for home. The author doesn’t just want us to know the facts of war. They want us to feel it. The fear, the camaraderie, the occasional absurdity of army life—it all came through loud and clear.
At times, the pacing slowed with heavy detail, especially in technical sections, but then it would slam you with a gut-punch of emotion or action that left you breathless. And I felt Johnny’s emotional shifts, while often believable, occasionally moved too quickly without enough inner reflection. But those are small things. What really stayed with me was how the war slowly changed him, not in a dramatic, movie-style way, but in that creeping, quiet erosion of innocence. It’s those little truths, told plainly, that make this book more than just historical fiction. It becomes personal.
Johnny’s War – Volume 2 is not just for military history buffs or fans of wartime dramas. It’s for anyone who wants to understand the human side of war—what it costs, how it twists people, and how, sometimes, even in the darkest places, you find light. I’d recommend this book to readers who love character-driven narratives, rich historical detail, and emotional truth. It’s not a page-turner in the thriller sense, but it sticks to your bones.
Pages: 325 | ASIN : B0F9X715VC
Johnny’s War Volume one
Graham Williams’ Johnny’s War: Volume One is a heartfelt and immersive account of a young man’s journey from the peaceful English countryside into the skies of World War II Britain as a trainee RAF pilot. Told through a blend of personal letters, vividly detailed scenes, and nostalgic reflection, the story follows John “Johnny” Pink from his family home to the RAF training grounds. Along the way, readers are introduced to a cast of fellow cadets, the unbreakable bond between friends, and the anxieties of wartime youth. It’s a story that doesn’t glorify war—it personalizes it, through the eyes of a son, a friend, and a hopeful pilot.
Reading this book was an emotional ride. I was struck right away by the authenticity of the writing—it didn’t feel like fiction. The dialogue between characters, especially Johnny and his friend Tommy, was real and warm, full of that particular blend of courage and awkwardness you’d expect from young men stepping into war. I appreciated how the author didn’t rush anything. Scenes breathed. Letters home from Johnny gave the book its soul. And the flying scenes were genuinely thrilling. The writing is simple and tender, almost old-fashioned in tone, which fits perfectly with the 1940s setting. The pacing is gentle, but it suits the story’s reflective nature.
What really hit me was the depth of care in the relationships. Johnny’s bond with his father had me choked up more than once. There’s such dignity in the way George keeps his hope alive, reading letters, tending the grave of his wife, and waiting. It’s a slow burn emotionally, but the ending caught me off guard. The buildup to Johnny’s solo flight was incredibly satisfying, both nerve-wracking and beautiful. And the quiet mystery of the boy with the apple added just the right amount of eerie wonder. This isn’t a flashy book—it’s thoughtful, steady, and often poignant. And that’s its strength.
If you love character-driven tales, historical settings done with care, and stories that tug at your heart more than your adrenaline, you’ll really like Johnny’s War. It’s a book for history lovers, romantics, and anyone who’s ever missed someone. I’d recommend it to readers who appreciate Band of Brothers for its humanity more than its action, or fans of heartfelt war dramas like Testament of Youth.
Pages: 364 | ASIN : B0F5Z2VXQT
LITERARY TITAN 