It’s November once again, and in some film circles, that means it’s time to revisit the dark alleyways and moody shadows of film noir as celebration of “Noirvember.” Coined by the French, the term “film noir” refers to the stylistic Hollywood hardboiled crime dramas that flourished in American cinema in the years after World War II. Known for its use of expressionistic lighting, these films are led by morally dubious male anti-heroes (usually private detectives) caught in a nightmare world of crime and murder, and often led astray down a dark path by sultry women. Film noir commonly utilized themes of distrust, confusion, and cynicism, which spoke to the anxieties of traumatized men returning from war and found themselves displaced in a changed society.

This list focuses on the black-and-white flicks from the ’40s and ’50s, considered to be the genre’s classic period. While there are dozens of outstanding film noirs from that era, the five listed here are my personal top picks which I deem essential, ones that perfectly encapsulate what this beloved genre has to offer. These also serve as good introductions for viewers interested in diving into the world of film noir. So wear your fedoras, turn off the lights, and settle into your cozy couches with a cigarette in your hand.

The Maltese Falcon (1941)

Considered as the first ever film noir, The Maltese Falcon cemented Humphrey Bogart’s career as a hardboiled leading man in American cinema. The film follows private detective Sam Spade (Humphrey Bogart) as he investigates the death of his partner Miles Archer, who’s been killed after getting hired by mysterious client Brigid O’Shaughnessy (Mary Astor). Spade is then pulled into a tangled web of double-crossing rogues and conspirators seeking a priceless figure of a bird called the Maltese Falcon.

The character of Sam Spade is widely cited as the primary figure in defining the detective archetype that would later dominate hardboiled fiction and American film noir, strongly influencing characters like Raymond Chandler’s Phillip Marlowe. Highly influential for its labyrinthine plot, arresting cinematography and brilliant performances (Bogart in particular), John Huston’s adaptation of the 1930 novel of the same name by Dashiell Hammett remains to be an essential viewing, as well as serving as a good introduction for noir beginners.

Double Indemnity (1944)

In Double Indemnity, insurance salesman Walter Neff (Fred MacMurray) falls in love – or seduced, however you want to put it – with provocative blonde Phyllis Dietrichson (Barbra Stanwyck), who convinces him to kill her husband for an insurance scam. However, Walter’s colleague Barton Keyes (Edward G. Robinson) suspects foul play and vows to prove the scam, blind to the fact that his friend is behind it. This tragic story of a man’s spiral into moral corruption is mainly presented through flashbacks narrated by the film’s protagonist – a key storytelling technique that would become standard practice in later films. Partnering with cinematographer John F. Seitz, director Billy Wilder tapped into his roots in German expressionism to give the film its sinister tone and looming sense of doom, using dramatic lighting and dark imagery that set the signature look for noirs to come.

Despite garnering seven Oscar nominations, the film never won a single award. Still, Double Indemnity is highly regarded as the most influential film noir ever made for establishing the standards of the genre.

The Third Man (1949)

Directed by Carol Reed, the atmospheric The Third Man is perhaps the greatest Orson Welles film that he did not direct himself. Welles simply steals every scene the moment he finally appears from the shadows during the third act in one of the most perfectly executed character introductions in movies. After Holly Martins (Joseph Cotten) arrives in post-WWII Vienna, he finds out that his friend Harry Lime (Orson Welles) has been killed on a hit-and-run. He soon learns that his death may not have been an accident after all, so Holly decides to stay in Vienna to investigate. The setting is as much a character as the rest of the cast, as the dark alleyways and seedy sewers of Vienna definitely lend themselves to the paranoia of noir. A tale of conspiracy and betrayal, The Third Man is film noir of the highest caliber for its iconic performances, captivating cinematography, and an unforgettable score that will stay on your head long after the film is over.

Out of the Past (1947)

Robert Mitchum makes a case for why he’s old Hollywood’s top leading man in Out of the Past, a moody melodrama about the past catching up to oneself. He stars as retired private eye Jeff Bailey hired by crime boss Whit Sterling (Kirk Douglas) to find his missing girlfriend, who shot him and stole $40,000. Whit promises that no harm will come to her, and admits that he doesn’t particularly care about the money either. Baffled by this, Jeff soon learns why when she sees her himself. Played by Jane Greer, Kathie Moffat’s deadly charm jumps right off the screen – easily one of the best femme fatales in noir. Needless to say, he falls hard for the dame, and it does not end well for him. As with all great noirs, the film can get convoluted with all its twists and turns, but two leads’ magnetic performances more than make up for it. Out of the Past certainly knows how to play to the genre’s strengths, with Mitchum’s weary eyes and cool demeanor adding a melancholic romanticism to the film. My personal favorite, I consider this one the quintessential film noir.

Kiss Me Deadly (1955)

Probably the most hardboiled entry in this list, Kiss Me Deadly is so much imbued with apocalyptic nihilism that it’s been singled out by the 1955 Kefauver Committee for ruining the minds of the youth. The film follows private detective Mike Hammer (Ralph Meeker) who becomes involved in a complex mystery after picking up a strange female hitchhiker. Director Robert Aldrich delivers a hauntingly brutal expedition into human degeneracy in search of a mysterious suitcase, and Ralph Meeker’s portrayal of a crude investigator that seemingly has no limits is almost frightening. One of the last great noir films of the classic period, Kiss Me Deadly left a harsh footprint at the end of an era by having one of the wildest endings in the genre. It’s also famous for its use of a glowing suitcase as a MacGuffin, which inspired multiple homages by later films like Repo Man and Pulp Fiction.