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Phantom lady , 1944

Phantom Lady is a 1944 American film noir directed by Robert Siodmak.The film was Siodmak's first Hollywood noir and was based on the novel of the same name written by Cornell Woolrich but published under the pseudonym William Irish.

Starring Franchot Tone, Ella Raines, and Alan Curtis.

A devoted secretary ( Ella Raines ) risks her life to try to find the elusive woman who may prove her boss (Alan Curtis) didn't murder his selfish wife. 

Phantom Lady features an incapacitated male, leaving a strong female lead to take a determining role in the action of the story — fairly unusual for 1944. Ella Raines turns vamp, and has her femininity and internal strength quoshed, as she plays dangerous on the streets, the concert hall, on bars and the shadows of the "psychopathic" killer who is revealed by his weaknesses and mistakes.

One of the most characteristic moments of the film is the involvement of the protagonist with Elisha Cooke Jnr, who plays a very horny drummer, who will probably be one of your favourite characters in this film.

When Cook does his big solo, with its double strokes, paradiddles and increasing sweat and effort, Ella Raines stands before him and comes to orgasm!  Someone called it ‘rape by jazz’...

Robert Siodmak a German-born director has more A-grade film noirs to his name than just about anyone else like a series of films noir he made in the 1940s, such as the killers ( 1946 ) , Criss Cross ( 1948 ) , Cry of the City ( 1948 ) etc

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John Alton the maestro of the Film Noir atmosphere

John Alton was an American cinematographer. He made is feature film debut in 1927 with The Student Prince in Old Heidelberg. Alton won an Academy Award for cinematography of An American in Paris, becoming the first Hungarian-born person to win it. Alton is most famous for  films noir style of the classic period . "But when I'd take most any director aside and ask him to sit down with me, he'd look at me as if I were crazy. He'd say, 'I've never sat down with a cameraman to talk about these things. What do you mean? You just pump a lot of light in!' I'd say 'You don't 'pump' light into a scene. That light has to tell something. There's a meaning, and it establishes a mood.' That was the difference between my pictures and some of the others: [in mine], each mood was different. The mood had to be done with lighting. That's my profession — not the lighting and how to light, but bringing out the mood."  ...
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