Henry Stevenson (Burt Lancaster) to wife Leona (Barbara Stanwyck): “I want you to do something. I want you to get yourself out of the bed, and get over to the window and scream as loud as you can. Otherwise you only have another three minutes to live.” Sorry Wrong Number, 1948
Strangers on a Train
Senator Morton (Leo G. Carroll): “Poor unfortunate girl.”
Barbara Morton (Patricia Hitchcock): “She was a tramp.”
Senator: “She was a human being. Let me remind you that even the most unworthy of us has a right to life and the pursuit of happiness.”
Barbara: “From what I hear she pursued it in all directions.”Bruno Anthony (Robert Walker) to Guy Haines (Farley Granger): “I do your murder. You do mine. Criss-cross.”
Touch of Evil (1958)

Quinlan (Orson Welles): “I’m Hank Quinlan.”
Tanya (Marlene Dietrich): “I didn’t recognize you. You should lay off those candy bars.”

Quinlan: “Come on, read my future for me.”
Tanya: “You haven’t got any.”
Quinlan: “What do you mean?”
Tanya: “Your future is all used up.”

And my favourite:

The Bad and the Beautiful (1952)

Georgia Lorrison (Lana Turner): “Jonathan, will you marry me?”
Jonathan Shields (Kirk Douglas): “Not even a little bit.”
Film noir (literally, “black film” in French) evolved out of American hard-boiled detective novels and the cinematic influence of German Expressionism.  For every Hollywood fairytale produced during the 40s and 50s — a time when the puritanical, anti-communist Hays Production Code was strictly enforced — there was a film noir doppelganger, a fever dream full of danger, despair, and depravity.

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