This One has an Interesting Pedigree.
It is a Remake of a Film-Noir, Fear in the Night (1946) from the same Director, the Prolific (mostly screenplays) Maxwell Shane. Everybody Endlessly compares the two Movies,
This is a Distinctive Noir, at the End of the Cycle and it is Remarkable because it includes almost every Film-Noir Trope starting with the Title. Obsessive Fans of the Genre could make a List.
The least Impressive thing about "Nightmare" is the Print. TCM, a stickler for finding the Best Available, showed a very Unimpressive Version that was Weak all around. The Contrast is "Grayish" and the Look is very Flat. That Visual Disappointment Aside, the Film reminds of the Great Style that was all but Forgotten by 1956.
Seemingly Filmed on a Very Low Budget, it still manages to Conjure Up the Atmosphere of True Film-Noir. The On-Location Footage on the Streets and Bayou are "Nightmarish". The Film feels Odd and Off-Beat adding to the Enjoyment.
The Cast lead by Edward G. Robinson and Kevin Mccarthy give the Movie Gravitas and the Story, by Cornell Woolrich, is Rich with Mysterious Happenings and Dreamlike Displays.
If every Reviewer on Earth hasn't Spoiled the Ending You will Undoubtedly have a Fun Time with this Mystery Movie.
Highly Recommended for Low-Budget Entertainment.
This 1956 Film-Noir shows just what Staying Power the Genre could Generate. The Conservative Fifties, with Very Few Exceptions, had Hollywood Capitulating to Government Gawking and Back-Room Intimidation and the Cynical and Edgy Film-Noir Genre was Relegated to Cheap Second Features and within a Year or two was Abandoned Altogether.
Making a Comeback about Later, as Neo-Noir, the Movies Started Experimenting with a Renewed Energy as things were Opening Up Culturally and the Art Form found that the Freedom to Express was again winning the Public's Imagination and Imagination is obviously one of the Ingredients in the Creative Process.
It is a Remake of a Film-Noir, Fear in the Night (1946) from the same Director, the Prolific (mostly screenplays) Maxwell Shane. Everybody Endlessly compares the two Movies,
This is a Distinctive Noir, at the End of the Cycle and it is Remarkable because it includes almost every Film-Noir Trope starting with the Title. Obsessive Fans of the Genre could make a List.
The least Impressive thing about "Nightmare" is the Print. TCM, a stickler for finding the Best Available, showed a very Unimpressive Version that was Weak all around. The Contrast is "Grayish" and the Look is very Flat. That Visual Disappointment Aside, the Film reminds of the Great Style that was all but Forgotten by 1956.
Seemingly Filmed on a Very Low Budget, it still manages to Conjure Up the Atmosphere of True Film-Noir. The On-Location Footage on the Streets and Bayou are "Nightmarish". The Film feels Odd and Off-Beat adding to the Enjoyment.
The Cast lead by Edward G. Robinson and Kevin Mccarthy give the Movie Gravitas and the Story, by Cornell Woolrich, is Rich with Mysterious Happenings and Dreamlike Displays.
If every Reviewer on Earth hasn't Spoiled the Ending You will Undoubtedly have a Fun Time with this Mystery Movie.
Highly Recommended for Low-Budget Entertainment.
This 1956 Film-Noir shows just what Staying Power the Genre could Generate. The Conservative Fifties, with Very Few Exceptions, had Hollywood Capitulating to Government Gawking and Back-Room Intimidation and the Cynical and Edgy Film-Noir Genre was Relegated to Cheap Second Features and within a Year or two was Abandoned Altogether.
Making a Comeback about Later, as Neo-Noir, the Movies Started Experimenting with a Renewed Energy as things were Opening Up Culturally and the Art Form found that the Freedom to Express was again winning the Public's Imagination and Imagination is obviously one of the Ingredients in the Creative Process.