Every cineaste has their favorite film festival, Noir City Chicago is mine. When I discovered that the hallmarks of the noir genre weren’t just about ‘broads and heavies’ but about questioning gender roles, marginalized folks and mindsets, misfits and those cast aside, the grey areas of society, it was a revelation.

It helped that the films were always so stylish.

So, yes, of course Noir City Chicago is my favorite film festival. I’ve been attending since its second year — it’s now in its 14th year, as always it’s at the Music Box Theatre — and I always set aside as much of the week as possible to soak in the darkness. The crowds are always great — except that one person I had to nag three times to turn off their cell phone during a rare screening KILLER’S KISS — and Film Noir Foundation heads Eddie Mueller and Alan K. Rode always bookend each screening with fascinating facts and behind-the-scenes details regarding the production.

This year the fest kicks off on September 6th and runs through September 12th and the schedule is exceptional. From classics to THE POSTMAN ALWAYS RINGS TWICE to little-seen 3D noirs like INFERNO, I had an extremely difficult time composing my viewing schedule! Below is a guide to some of the fest’s highlights. (If I haven’t included on from the schedule, it’s because it’s new to me!)
THE POSTMAN ALWAYS RINGS TWICE

Of all Cain film adaptations, this is my favorite. (Sorry, MILDRED PIERCE.) While difficult to adapt within the restrictions of the Hays Code — hell, the novel just barely made it to print thanks to how lurid it was — director Tay Garnet mostly manages to retain the heat and verve of the text. Leads Lana Turner and John Garfield smolder on the screen, all sweat and burning gazes.
POSTMAN also opens the festival and heralds in the restoration of the Music Box’s main theater! Brand seats — with cupholders — and I’ll be arriving early to lay claim to my favorite place to sit!
OSSESSIONE

THE POSTMAN ALWAYS RINGS TWICE has been adapted for the silver screen more than a few times, but OSSESSIONE is an exceptionally gritty Italian take. As I recall — it’s been a while since I’ve had an opportunity to see it — the texture of the locals are exceptional, adding to the sweat and heat and tension of the material.
ODD MAN OUT

Carol Reed’s tale of an Irish nationalist on the run is a classic, with a stellar performance from James Mason and exceptional interplay of urban lamplight and the shadows of the city.
I will admit that it’s one of the few films I’ll be skipping in favor of a lunch break, but that’s solely because I’ve seen it more times than I can count.
THE WINDOW

Yes, THE WINDOW can be boiled down to a ‘boy who cried wolf’ tale — as acknowledged in the Music Box write-up — it’s also about quintessential noir themes, such as ostracized elements needing to be kept at bay, the role of authority figures, and belief and deceit.
LE SAMOURAI

Alain Delon, expertly preserved on film.
INFERNO

A Technicolor 3D noir with the always-engrossing Robert Ryan!
UNION STATION

Chicago’s Union Station — the heart of the city’s railways — is mostly here in name only, and even that name is deceptive as the bulk of the film takes place on a train. Don’t let that deter you though, as it’s thrillingly claustrophobic!
View the full schedule at the Music Box’s site and if you have TCM you can catch Eddie Muller’s weekly noir deep dive: NOIR ALLEY.