It is easy to write about a bad film, but much harder to write about a good one. Pointing to areas that are lacking is easy, but when you cannot find fault in anything, what do you write about? This is, in part, a consequence of the medium: a good film cannot simply be put into words or else it would not be a good film, only a good story
Orson Welles’ The Lady from Shanghai begins with the sea, roiling and foaming beneath the opening credits. Many films noir are laden with existential anxieties; indeed, fatalism and cynicism are as commonplace in the genre as stylized lighting, bantering innuendoes, and convoluted crimes.