I love all film noirs because of the way they were filmed and acted. The setting were always fantastic and the plots always teeming with murder, blackmail, and alienation. The characters were low-lifes, detectives, or femme fatales. In all film noirs, there is romance, but the sexiest film noir, by far, is the original version of The Postman Always Rings Twice. The on-screen chemistry between platinum blonde Lana Turner and drifter John Garfield is enough to carry a 113 minute movie. Throw in Cecil Kellaway and Hume Cronyn as part of the great supporting cast, a wonderful story by James M. Cain, and tragic irony and the result is one of the fastest moving, most enjoyable film noirs produced in the golden age of Hollywood.
Lana Turner's Cora ranks as one of the most seemingly innocent and utterly drop-dead beautiful goddesses ever to touch the silver screen.
Look for another film inspired by the sexiness of The Postman Always Rings Twice directed by Thomas Konkle called Trouble Is My Business
Cinematographer/writer John Briley closer to the truth when he says, "(Film noir) experiences periodic rebirth and rediscovery. Whenever we have any moment of deep societal rift or disruption in America, one of the ways we can express it is through the ideas and behavior in film noir?" (New York Times, February 6, 1994)
The time is ripe for a resurgence of noir. "In late twentieth-century America, when several decades can feel like an age, it's not only that we can look back to the forties and fifties and appreciate the cutting-edge significance and power of the noir vision, but also that we can gaze into our national mirror today and discern all around us the dark tones and shock-waves of noir's resurgence.