Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description
All About Eve (1950), 138 minutes, D: Joseph L. Mankiewicz
Much-loved, lengthy, acerbic drama of theatre life about a young actress who insinuates her way into Broadway stage star's life. Wit and sarcasm reign supreme (e.g., "Fasten your seat belts. It's going to be a bumpy night") and George Sanders is perfect as Addison De Witt - a cynical, egotistical columnist/critic. The literate Best Picture-winning film features Bette Davis as aging, bitchy accomplished star Margo Channing who takes the seemingly-naive and innocent fan Eve (Anne Baxter) under her wing. As the film opens, the rising, unscrupulous star accepts an award for best newcomer on the Broadway scene. Then, in a flashback, we see the shameless starlet insinuating herself into the life of her idol, and scheming to steal her theatrical roles and her lover Bill (Gary Merrill). By ruthlessly exploiting the older woman's kindness and hospitality, she manages to achieve her present success while almost destroying the veteran star in the process. The ending of the film returns to the awards banquet to find the starlet clinging to her trophy, with another fan in the wings. Also with Marilyn Monroe in a bit part.
The Asphalt Jungle (1950), 112 minutes, D: John Huston
A classic noirish thriller, an adaptation based on a novel by W. R. Burnett, about a mastermind, aging, ex-convict criminal Doc (Sam Jaffe), who comes out of retirement (prison) for one last jewel robbery with an assemblage of underworld characters - Kentucky horse-farm loving Dix Handley (Sterling Hayden) with tough-girlfriend Doll (Jean Hagen), and sleazy lawyer partner Alonzo Emmerich (Louis Calhern) who plans to fence the jewels to support his expensive habits (e.g., an affair with seductive mistress Marilyn Monroe - in a cameo role). The heist unravels quickly and everything falls apart when an alarm accidentally sounds and the safecracker is mortally wounded by a stray bullet. While Emmerich commits suicide, and others are either jailed or wounded, Doc's creepy voyeurism for a young girl dooms him during his escape. Dix reaches his childhood Kentucky farm but expires in a field surrounded by horses.
Born Yesterday (1950), 103 minutes, D: George Cukor
Cinderella (1950), 76 minutes, D: Disney Studio
D. O. A. (1950), 83 minutes, D: Rudolph Mate
Father of the Bride (1950), 94 minutes, D: Vincente Minnelli
The File on Thelma Jordon (1950), 100 minutes, D: Robert Siodmak
The film noirish story centered around mysterious, duplicitous and treacherous femme fatale Thelma Jordon (Barbara Stanwyck) - as evidenced by the film's tagline: "...SHE'LL LIE...KILL OR KISS HER WAY OUT OF ANYTHING!" Thelma captured the emotionally-dependent heart of unhappily-married assistant District Attorney Cleve Marshall (Wendell Cory). Cleve's wife Pamela (Joan Tetzel) was more loyal to her wealthy father, and she constantly criticized him, pushing him to heavy drinking. Thelma chose Cleve as the duped fall-guy when she came to the office of chief investigator Miles Scott (Paul Kelly) to report robberies at her home. She engaged in an adulterous and illicit (but genuine) love affair with Cleve, telling him: "Maybe I'm just a dame and didn't know it." She had even confessed to him, falsely, that she was lovelessly married and recently separated from shady jewel thief Tony Laredo (Richard Rober) - when in fact they had planned the crimes together. The misguided and self-deluding "fall guy" DA threw aside his family, future, and honor and helped to defend Thelma after her wealthy Aunt Vera Edwards (Gertrude Hoffman) was murdered. DA Cleve helped Thelma to reconstruct an 'untouched' version of the crime scene, so that neither of them would be suspected of foul play for tampering with evidence. Thelma claimed to Cleve that Tony committed the murder during the robbery of her aunt's valuable emerald necklace, and made it look like an outside job. In reality, Thelma was the cold-blooded, calculating murderess. There was also suspicion about an unseen accomplice dubbed "Mr. X" (Cleve himself), who had assisted Thelma. Thelma became a prime suspect - she was charged for the murder (her Aunt's recently-rewritten will in her favor was a major factor). Love-struck DA Cleve took up the prosecution on her behalf, quietly hired defense attorney Kingsley Willis (Stanley Ridges) for Thelma, and manipulated the case to her favor. He circumvented revealed evidence of a dark life of blackmail, gambling, and relationship with her husband-partner-in-crime Tony, and she was found not guilty. After a post-trial rendezvous of Thelma with Tony, the couple planned to flee and live off her Aunt's inheritance. When Cleve arrived to be with Thelma, she told him that Tony had reappeared from Chicago for her ("I've always loved him...You must have known it, except you didn't want to know"). She admitted that Cleve had been set up to help defend her ("You were the fall guy, Cleve, right from the beginning"), and that she had killed Vera ("I'd like to say I didn't intend to kill her, but when you have a gun, you always intend if you have to"). After Tony knocked out Cleve from behind, Tony and Thelma fled together to go "as far away as possible." She struggled with accomplice Tony as he drove, trying to injure him with a burning-hot dashboard cigarette lighter. He died when their car crashed over a cliff and caught fire, while Thelma was hospitalized. During her deathbed scene, she made a full confession to Miles, but refused to identify "Mr. X." As she expired, she told Cleve: "You don't suppose they could just let half of me die?" Miles realized that Cleve was the mysterious "Mr. X."
Gun Crazy (1949/1950) (aka Deadly is the Female), 87 minutes, D: Joseph H. Lewis
A cult, noirish love-on-the-run tale based on MacKinlay Kantor's story, pre Bonnie and Clyde, about a reckless couple fatally attracted to their firearms - and each other. One of the best B films ever made. After serving in the Army, gun-loving Bert Tare (John Dall) meets trick sharp-shooter femme fatale Annie Laurie Starr (Peggy Cummins), portraying Annie Oakley in a Wild West carnival side-show - they are perfect companions. The two wild, amoral lovers marry - when financially strapped, they turn to a series of exciting cross-country robberies. One unnerving sequence is shot non-stop from a camera planted in the back seat of their getaway car. Their amour fou ultimately leads to their tragic end in a foggy swamp, brought down by their violent, jarring, reckless natures.
The Gunfighter (1950), 84 minutes, D: Henry King
Harvey (1950), 104 minutes, D: Henry Koster
In a Lonely Place (1950), 94 minutes, D: Nicholas Ray
A mature, bleak and dramatic 1950 film noir from maverick director Nicholas Ray - from a complex script by Andrew Solt. World-weary, acerbic, self-destructive, hot-tempered, depression-plagued Hollywood screenwriter and laconic anti-hero Dixon Steele (Humphrey Bogart), while planning to adapt a trashy best-selling romance novel, becomes the prime suspect in a murder case of a night-club hat-check girl Mildred Atkinson (Martha Stewart). After he invites her to his apartment to provide a synopsis for the book that he hasn't read, she is found brutally murdered the next morning. His romantic relationship with a lovely neighbor/would-be starlet Laurel Gray (Gloria Grahame) in the housing complex grows stronger when she confirms his alibi, but ultimately is put to the test as she becomes increasingly suspicious of his disintegrating self.
Los Olvidados (1950, Mex.) (aka The Forgotten Ones, or The Young and the Damned), 85 minutes, D: Luis Bunuel
Orphée (1950, Fr.) (aka Orpheus), 112 minutes, D: Jean Cocteau
Panic in the Streets (1950), 96 minutes, D: Elia Kazan
Rashomon (1950, Jp.), 88 minutes, D: Akira Kurosawa
Rio Grande (1950), 105 minutes, D: John Ford
Seven Days to Noon (1950, UK), 94 minutes, D: John Boulting and Roy Boulting
Sunset Boulevard (1950) (aka Sunset Blvd.), 110 minutes, D: Billy Wilder
Wilder's witty black comedy regarding a famed silent film star who refuses to accept the end of her stardom. Opens with a shocking flashback narrated in voice-over by a dead corpse - a victim floating face-down in a Sunset Boulevard mansion's swimming pool. Aspiring, debt-ridden screenwriter Joe Gillis (William Holden) hides from creditors while hired to write a script for faded film queen Norma Desmond's (Gloria Swanson) impending comeback. He takes advantage, encouraging her false hopes and moving in as her gigolo. The once-great star lives in a secluded estate with butler/chauffeur Max (Erich von Stroheim). The ambivalent, 'kept man' scriptwriter balances his exploitative dependence upon the film star with romantic attention toward young script-reader Betty Schaefer (Nancy Olson), creating a lethal situation. The perverse, cynical film references Swanson's actual career, with excerpts from one of her unfinished films (Queen Kelly, directed by von Stroheim) and cameos by other forgotten silent film stars (e.g., Buster Keaton).
Winchester '73 (1950), D: Anthony Mann
Unique and classic, noirish black and white "psychological" western film based on a story by Stuart Lake - and the first of eight films pairing James Stewart with director Mann. An obsessed, hard-bitten man Lin McAdam (James Stewart) participates in a Fourth of July shooting contest in Dodge City to win back a prized 1873 Winchester repeating rifle. Although he wins, the rifle is stolen by his surly, runner-up opponent Dutch Henry Brown (Stephen McNally) (and the murderer of his father). The film follows the dogged, revenge-seeking search for the cursed weapon, as the gun passes through the hands of many new "owners'' and their stories are depicted.