United Kingdom released, PAL/Region 2 DVD: LANGUAGES: English ( Dolby Digital 2.0 ), WIDESCREEN (1.66:1), SPECIAL FEATURES: Anamorphic Widescreen, Cast/Crew Interview(s), Interactive Menu, Making Of, Photo Gallery, Scene Access, Uncut, SYNOPSIS: Usually misattributed to the horror genre, this challenging and highly unusual drama stars Isabelle Adjani as a young woman who forsakes her husband (Sam Neill) and her lover (Heinz Bennent) for a bizarre, tentacled creature that she keeps in a run-down Berlin apartment. In the beginning, her husband knows nothing about the monster and sincerely believes that his wife is insane. He has her tailed by private detectives, whom she kills and feeds to the creature. Still unaware of what has happened, the husband contends with the reserved and inadvertently seductive presence of his wife’s look-alike (also played by Adjani), a schoolteacher who frequently comes to tutor his son while his wife is away. Though tempted by her quiet goodness and beauty, he is still passionately in love with his wife and even after he finds out about the murders, he stays by her side and helps her conceal her crimes. Filmed amidst the oppressive backdrop of the Berlin Wall by the expatriate Polish director Andrzej Zulawski (who was unable to work in his homeland after too many clashes with the authorities), the picture is so relentlessly intense and so deliberately esoteric, that most viewers would find it too hard to connect with. Still its symbolism, its unbridled and flashy directorial style, and the tour de force performance by Isabelle Adjani earned this unique tale a cult following in Europe. SCREENED/AWARDED AT: BAFTA Awards, Cannes Film Festival, Ceasar Awards, Fantasporto Awards, …Possession (Uncut) (1981)

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Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain’s hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson’s husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film’s credit, this doesn’t diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today’s standards, and the dialogue is snappy (“I thought you were smarter than the rest, Walter. But I was wrong. You’re not smarter, just a little taller”), filled with lots of “dame”s and “baby”s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. –Jenny Brown

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Philip M Noir is a Private Investigator. A mysterious young widow hires him to find her husband’s killer… but has he really been killed? Then his client is killed and her body disappears… but was she really his client?

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Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain’s hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson’s husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film’s credit, this doesn’t diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today’s standards, and the dialogue is snappy (“I thought you were smarter than the rest, Walter. But I was wrong. You’re not smarter, just a little taller”), filled with lots of “dame”s and “baby”s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. –Jenny Brown

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Terry Pratchett’s Discworld is, perhaps unsurprisingly given the game’s title, the setting for this point-and-click romp which combines the best elements of Bogart-esque private eye movies with the best-known fantasy environment in the world.

The game follows the trials and tribulations of the Discworld’s first PI as he takes on his first case–a missing persons job on behalf of a darkly mysterious female client who’s husband has gone walkies.

It’s pretty standard adventure fare with pointing and clicking aplenty as the case unravels, villains are revealed and outrageously long FMV sequences disturb the flow of the plot.

OK, so far it doesn’t sound that good, right? But perseverance is the name of the game and you won’t be able to help getting drawn further into the plot to the point where it is impossible to leave it alone. The major draw in this title is the obvious input from Pratchett himself. The characters really bring this game to life, mixing the new, such as Lewton the private eye and main character, with the old, Nobby Nobbs of the City Guard, Death and the Grim Squeaker–a hilarious character who is actually the Death of Rats.

Comedy abounds here, from the obvious to the incredibly subtle, and there is plenty going on to keep you playing for quite a while.

At the end of the day, this is more suited to the Discworld fan then to someone looking idly around for an adventure game to fill in a couple of hours, but with its budget price thanks to an Infogrames re-release, Discworld Noir is a good purchase. –James Gordon

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When wealth and charm fail… and airship and the gods prevail.
Chenda Frost lived as a spectator in her own life until the murder of her recluse war hero husband. Caught in a mystery about her destiny, she boards an airship with Geologist Candice Mortimer for an adventure in the air, across a desert, through a mountain and under the sea. Along the way, she loses everything she’s ever known, but gains true friendship and a formidable gift from the gods. A ripping good yarn!

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Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain’s hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson’s husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film’s credit, this doesn’t diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today’s standards, and the dialogue is snappy (“I thought you were smarter than the rest, Walter. But I was wrong. You’re not smarter, just a little taller”), filled with lots of “dame”s and “baby”s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. –Jenny Brown

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Product Description
The laconic private eye…the corrupt cop…the heist that goes wrong…the Femme Fatale with the rich husband and dim lover – all are trademark characters of the movement known as film noir, that elusive mixture of stark lighting and even starker emotions. Noir explores the dark side of post-war society – gangsters, hoodlums, prostitutes and killers – and showed how it corrupted the good and the beautiful. Many of these films are now touchstones of what we regard as ‘classic’ Hollywood – The Maltese Falcon(1941), The Big Sleep(1946), Double Indemnity(1944) and The Postman Always Rings Twice(1946). This Pocket Essential charts the progression of the noir style as a vehicle for film-makers who wanted to record the darkness at the heart of American society as it emerged from World War into Cold War. As well as an introductory essay on the origins of Film Noir, this Pocket Essential discusses all the classics from the heyday of the movement in detail and includes a handy reference section for readers who want to know more.

Film Noir – The Pocket Essential Guide

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