Dennis O’Keefe

THE FAKE (1953)

The-Fake-1953

Here’s a great little caper set inside London’s Tate Museum. Starring versatile noir favorite Dennis O’Keefe, The Fake is a strong example of that overused word in film criticism: “romp.” Yeah, I know, I just used it, but it really is adequate in this situation. More, The Fake is a “condensed romp,” with minimal locations and characters. There’s still a bit of that hard-edged noir aesthetic, but overall it’s a fun, lighthearted crime film that’s the sort of perfect lazy Sunday afternoon fare people spend hours penetrating Netflix for. While no means a classic, The Fake has enough unique things going for it to make it a blast to watch. I mean, when’s the last time you saw a mystery where the color lapis lazuli was a major clue?

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T-MEN (1947)

T-Men 1947

T-Men is one of those semi-documentary films (like Call Northside 777) that brown noses the feds, but viewers expecting an over-staged presentation of federal prowess will be surprised. These “semi-documentary” films are usually not my bag, but this one is seriously dark and downright ruthless in parts. It also never romanticizes the life of a U.S. Treasury agent. It does quite the opposite, in fact. There’s a fair amount of newsreel propaganda and even a “public service announcement” from the Secretary of Treasury acting as prologue, but T-Men feels way more like a brooding underworld noir than stiff government kitsch.

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RAW DEAL (1948)

Raw Deal 1948

(No not the Arnold Schwarzenegger action flick from the ’80s)  Raw Deal is a pretty underrated gem of the classic noir cycle. It was made the same year as T-Men with many of the same principal talents. While that film had a social realism thing going on, Raw Deal goes right for the hypothetical throat. It’s a tale of betrayal amongst a group of crooks and the two women who strive for the love of Joe (Dennis O’Keefe). On the surface it reads like a standard revenge story, but thanks to director Anthony Mann and DP John  Alton, Raw Deal plunges into a hallucinatory realm of violence and cynicism that’s as disenchanted as the hardest noirs oughta be.

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