At its darkest, noir naturally shades over into horror, as countless genre films have demonstrated over the years. In honor of “Noirvember,” here’s a list of eleven exemplary works of horror noir:
Steeped in dark-carnival atmosphere, Tod Browning’s controversial shocker is also driven by a noir narrative. A scheming pair of lovers (the trapeze artist Cleopatra and the strongman Hercules) plot to seduce the dwarf Hans, to poison him following his marriage to Cleopatra, and then steal his wealth. The climactic scene in which the titular sideshow performers carry out their vengeance against the conspirators during a driving rainstorm forms a classic combination of horror and noir.
No director mixed mystery and suspense with terror and horror better than Alfred Hitchcock. This seminal cinematic adaptation of Robert Bloch’s novel conveys a strong noir vibe: driven by love to a desperate act of robbery, a fugitive woman suffers bloody comeuppance at a lonesome motel (at the hands of a quite violent “femme”). The private detective who subsequently searches the old dark house overlooking the Bates business doesn’t fare much better.
Blood Simple (1984)
The Coen brothers’ debut effort signals its dark leanings in its very title (drawn from a line in Hammett’s Red Harvest). This tale of marital infidelity and attempted vengeance (by the cuckolded husband) features shocking acts of murder, premature burial, nightmare visions of revenant return, and one frightfully rogue private detective. The sense of horror is only intensified as randomness and misunderstanding precipitate a series of catastrophic events. My all-time favorite film noir.
Angel Heart (1987)
Alan Parker’s adaptation of William Hjortsberg’s genre-splicing novel, in which a hard-boiled detective stumbles onto the occult, delivers some truly horrifying visuals (the blood spill seems almost as copious as the rainfall). It also offers one of the most stunning plot twists this side of Chinatown. Throw in a frightfully good performance by Robert DeNiro as the sinister Louis Cyphre, and the quintessence of horror noir is achieved.
Cape Fear (1991)
De Niro rears his psychotic head here in this remake of the 1962 film, playing the Robert Mitchum role like a redneck Hannibal Lector. Any notion that De Niro’s Max Cady is your basic criminal stalker is destroyed the second he bites a hunk out of Ileana Douglas’s cheek. There’s also a great set-piece in which he grimly outwits a private detective on a stakeout. Director Martin Scorsese underscores the horror noir nature of the film in a harrowing, protracted climax that transpires during a raging squall.
Basic Instinct (1992)
Ok, calling this one a “masterpiece” might be overstating the case, given the abundance of sleaziness and cheesiness. But the horror here extends far beyond the gratuitous glute-shots of a butt-naked Michael Douglas. Sharon Stone is a modern-day femme fatale guaranteed to turn wet dreams into sweat-soaked nightmares. After the savage, in medias coitus icepicking in the film’s opening, the recurrent sex scenes splashed across the screen utterly terrify even as they titillate.
Much of David Fincher’s work qualifies for this list, but none of the director’s other films can surpass this one’s combination of the gritty and the grotesque. In lesser hands the basic premise (a serial killer with a baroque schema) might have seemed derivative, the stuff of made-for-cable movies, but Fincher crafts a masterfully-atmospheric film filled with viewer-traumatizing tableaus (the crime scene for the “Sloth” victim alone places Se7en in the horror noir hall of fame). Even when the narrative leaves the seedy confines of the city for sunny expanse in the climax, it heads off into shocking, devastating territory.
Dark City (1998)
The best and darkest of the numerous future-noir films that followed in the wake of The Matrix. Alex Proyas’s stunning cinematic vehicle starts with standard noir elements (the main character finds he has lost his memory, as he awakens in a room with a dead prostitute sprawled on the floor) and then takes the idea of urban entrapment (in a rain-slicked nightscape) in a whole other, mind-bending direction. The film’s human-corpse-wearing alien “strangers”–extraterrestrial Cenobites engaged in bizarre experiment–are as unnerving a group of villains ever to form a criminal underworld.
Shutter Island (2010)
Scorsese sways toward the Gothic in this adaptation of Dennis Lehane’s thrilling twist on a detective novel. As if an island asylum for the criminally insane (where illicit, secret experiments might be taking place) wasn’t creepy enough already, the film adds some spectacularly heavy weather, rat-infested caves, and a protagonist haunted by visions of scarred monsters and corpses come to life. I would also argue that the gut-punch of a climactic plot twist here hearkens back to Angel Heart.
A Girl Walks Home Alone at Night (2014)
A moody, highly-stylized piece shot in black and white and melding street crime and the supernatural, director Ana Lily Amirpour’s debut film checks all the appropriate boxes. The female of the title is more fearful than someone to fear for: an antiheroic Iranian vampire who prowls the stark wasteland of Bad City (and who leaves quite a mark on a drug-dealing pimp). Calling this one the lovechild of Nosferatu and Sin City isn’t some pithy pitch, but rather an acknowledgement of two of the works that ostensibly influence Amirpour’s artistic vision.
True Detective, Season 1 (2014)
Technically, this is not a theatrical film but an HBO series, yet a perfect addition to the list nonetheless. Show creator Nic Pizzolato invokes weird-fiction writers such as Ambrose Bierce, Robert Chambers and Thomas Ligotti, as he scripts a gripping narrative in which a murder investigation uncovers conspiracy and depraved ritual. Season 1’s Louisiana mise-en-scène is at once haunting and haunted, and the killer’s discovered lair in the finale makes the Sawyer abode in The Texas Chainsaw Massacre look like it belongs in Better Homes and Gardens.