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ONE OF THE fascinating quirks of American film history is that the dark thrillers or film noirs were made when US fortunes were at their height: the Second World War was won (almost won, for some classics like 1944's Double Indemnity); there was full employment and a booming economy. The early fifties marked an emphatic move to the right with the election of war hero Dwight Eisenhower as President. So why were there large audiences for some of the most disturbing films Hollywood had made until then?
Perhaps film-makers and their public realised there was more to American society than the comfortable surface of the late forties and early fifties, such as the ...