Last week's column entry, White Heat, was a film directed by Raoul Walsh which exemplified some of the very best assets of both the gangster and noir genres within the same picture. Given that the latter evolved, in part, out of the former, it only seemed natural that by the end of the 1940s, when the gangster pictures were less prominent at the theatre and noir was picking up considerable steam, the two would coalesce seamlessly.
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