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Le Cheval Noir. So Dark the Night is directed by Joseph H. Lewis and written by Dwight V. Babcock, Martin Berkeley and Aubrey Wisberg. It stars Steven Geray, Micheline Cheirel, Eugene Borden, Ann Codee and Egon Brecher. Music is by Hugo Friedhofer and cinematography by Burnett Guffey. Henri Cassin (Geray) is a well regarded Parisian detective who while on a much earned vacation falls in love with innkeeper's daughter Nanette Michaud. However, with Nanette already having a boyfriend, and a tempestuous one at that, true love does not run smooth, especially when murder enters the fray and Cassin has to start investigating the tricky case. It all begins so perky, with jolly music, smiling faces and brightly lighted compositions, so much so I had actually thought I had loaded the wrong film to watch! Once Henri Cassin arrives at Le Cheval Noir (The Black Horse) in the rural town of St. Margot, however, the whole tone of the film shifts into darker territory. The apple cart is well and truly turned upside down and various character traits start to come into play - with the various main players suddenly becoming an interesting bunch. Enter hunchbacked man, jealous guy, love sick chamber maid, weak parents et al... Joseph Lewis (My Name Is Julia Ross - Gun Crazy - The Big Combo) does a top job in recreating a French town with what no doubt was a small budget, yet his greatest strengths here are his visual ticks, in how he manages to fill the picture with the requisite psychological discord that craftily haunts the edges of the frames until they be ready for maximum impact. In partnership with ace photographer Guffey, Lewis brings tilted angles and black shadowy shadings to this French hot-bed of lust and character disintegration. He also has a nifty bent for filming scenes through windows and bars, while his filming of a rippled water reflection cast onto a character's face is as significant a metaphor as can be. Also note scenes involving a rocking chair, a dripping tap and a deft window splice sequence that signifies that the psychological walls are tumbling down. Something of a rare picture given that who the director is, this definitely is of interest to the film noir loving crowd. The finale will not surprise too many, but it doesn't cop out by soft soaping the topic to hand. It also serves to show that the great Joseph H. Lewis could make a silk purse out of a sow's ear. 7/10 Now available as part of the Columbia Film Noir Classics IV Collection.
Buttoned-down veteran LAPD detective Roger Murtaugh is partnered with unhinged cop Martin Riggs, who — distraught after his wife's death — has a death wish and takes unnecessary risks with criminals at every turn. The odd couple embark on their first homicide investigation as partners, involving a young woman known to Murtaugh with ties to a drug and prostitution ring.
Riggs and Murtaugh are on the trail of South African diplomats using their immunity to engage in criminal activities.
When an armed, masked gang enter a Manhattan bank, lock the doors and take hostages, the detective assigned to effect their release enters negotiations preoccupied with corruption charges he is facing.
This TV-pilot, later made into a TV-series, is about a cop in Newark, New Jersey, who defies his superiors to try to bring down the head of a Mafia numbers racket.
While doing a friend a favour and searching for a runaway teenager, a police detective stumbles upon a bizarre band of criminals about to pull off a bank robbery. The screenplay by Christopher Cannan and Steve Barancik is based on the short story "The House in Turk Street" by Dashiell Hammett.
A case involving drug lords and murder in South Florida takes a personal turn for undercover detectives Sonny Crockett and Ricardo Tubbs. Unorthodox Crockett gets involved romantically with the Chinese-Cuban wife of a trafficker of arms and drugs, while Tubbs deals with an assault on those he loves.
Duke is a modern day telling of a classic western film. Dare and Roost are brothers who have been raised in a reformatory, taught to survive and conditioned to trust no one. They have moved to West Los Angeles, where Dare moonlights himself as a Detective and Roost blankets himself in old John Wayne films and reclusive habit. Cleaning the streets and ridding the neighborhoods of scum, this contemporary study finds Dare obsessed with a phantom like criminal (Winky) who seems to be terrorizing the community. Simultaneously, the same exact investigation is being led by official and likely engrossed Detective Robert Morrison. As Dare closes in on Winky and the entire department closes in on them both, these brothers must make the ultimate commitment and pay the extraordinary consequences therein.
Matt Lee Whitlock, respected chief of police in small Banyan Key, Florida, must solve a vicious double homicide before he himself falls under suspicion. Matt Lee has to stay a few steps ahead of his own police force and everyone he's trusted in order to find out the truth.
A well-known business lawyer is shot dead in the courthouse. A commissioner of the Criminal Brigade is in charge of the investigation and is helped by a journalist.
A white female detective is partnered with a black male detective to find the person who is committing a series of particularly vicious murders. During the course of the investigation the two begin to develop an attraction to each other, but the situation is complicated by the fact that he is married.
Angel City trooper Jack Deth is sent back in time from 2247 to 1985 L.A. to inhabit the body of his ancestor. Deth's assignment is to find his archenemy, Whistler, who turns people into zombies, before the fiend is able to kill all the ancestors of the future's governing council.