Dive into the shadowy world of crime and suspense with John Carpenter's unexpected film picks—because sometimes, even a horror legend craves a break from the scares with some classic intrigue that keeps you guessing until the end. But here's where it gets controversial: Is Carpenter's shift away from horror a bold statement on genre boundaries, or is it just a personal indulgence that ignores his iconic roots? Stick around, and you might find yourself questioning what really defines a master's taste in movies.
John Carpenter, the legendary filmmaker behind spine-tingling classics like Halloween and The Thing, isn't one to stick rigidly to the horror genre that made him famous. While Turner Classic Movies (TCM) is flooding October with chilling horror masterpieces and overlooked treasures to celebrate the spooky season, Carpenter's own suggestions take a detour into the gritty realms of crime thrillers and film noir. These are styles that thrive on tension, moral ambiguity, and the dark side of human nature—perfect for viewers who enjoy stories that unfold like a slow-burning fuse. And this is the part most people miss: His choices reveal a filmmaker who appreciates the art of suspense without relying on supernatural elements, showing how one genre can bleed into another for maximum impact.
First up on Carpenter's list is The Asphalt Jungle (1950), a crime drama he calls "one of the great all-time crime movies." Directed by the acclaimed John Huston, it features Sterling Hayden delivering a powerhouse performance as a criminal mastermind. Carpenter loves it for its raw portrayal of ambition gone wrong, and it's easy to see why—it masterfully blends high-stakes action with deep character studies. For beginners diving into film noir (that's the moody, black-and-white style of storytelling popular in the mid-20th century, full of cynical detectives, femme fatales, and urban decay), this film is a fantastic entry point. It tells the story of a meticulously planned heist that starts off smoothly but spirals into chaos due to betrayals, unfortunate coincidences, and relentless law enforcement pressure. Imagine a group of thieves pulling off what seems like the perfect score, only for greed and fate to turn allies into enemies—it's a timeless lesson on how crime rarely pays off without consequences.
Huston crafted the screenplay alongside Ben Maddow, adapting W.R. Burnett's 1949 novel into a screenplay that packs emotional punches. The cast is a who's who of Hollywood talent: Sterling Hayden leads, supported by the likes of Louis Calhern as the cunning financier, Jean Hagen as the seductive accomplice, James Whitmore as the tough detective, Sam Jaffe as the eccentric fence, John McIntire as the commissioner, and even a young Marilyn Monroe in one of her breakout roles as the bookie's girlfriend. This ensemble makes the film feel alive, with each actor bringing layers to characters who are neither purely good nor evil—just human, flawed, and driven by desperation.
But here's where it gets controversial: Does Carpenter's praise for a heist film that glorifies criminals (albeit with a moral payoff) undermine his horror legacy, or is it a nod to the shared themes of isolation and downfall in both genres? Many fans might argue that true Carpenter enthusiasts should stick to slashers, but what if his recommendations are secretly teaching us that horror and noir are two sides of the same coin—both exploring the monsters within us?
Shifting gears, Carpenter also raves about Gaslight (1944), starring Ingrid Bergman and Charles Boyer in a psychological thriller that's pure cinematic gold. "Amazing movie and an amazing performance by Ingrid Bergman," he says. "What a dish! Oh, she was beautiful and a great, great actress." Bergman, with her luminous presence and powerful range, anchors the story as a woman whose reality is slowly eroded by her husband's sinister manipulations. For those new to psychological thrillers, think of it as a mind-bending tale where the home becomes a prison, and trust turns into terror—much like a horror film, but grounded in real human psychology rather than ghosts or monsters.
The plot unfolds when, a decade after her aunt's mysterious murder in their London home, a woman returns from Italy with her new husband. His eerie fixation on the house hides a dark secret that drives him to gaslight her—manipulate her into questioning her sanity. It's a chilling exploration of gaslighting, a concept that's sadly relevant today, showing how emotional abuse can feel like supernatural horror without any actual specters involved. An example for beginners: This is similar to how modern stories like Gone Girl use mental games to build suspense, but Gaslight pioneered it decades earlier.
Directed by George Cukor (famous for My Fair Lady), the film adapts Patrick Hamilton's play Angel Street into a script by John Van Druten, Walter Reisch, and John L. Balderston. Boyer plays the charming yet villainous husband with eerie subtlety, while Bergman shines as the vulnerable yet resilient wife. They share the screen with a strong supporting cast, including Joseph Cotten as the kind neighbor, May Whitty as the wise housekeeper, and a young Angela Lansbury in a memorable early role.
And this is the part most people miss: While Carpenter's horror films often feature overt violence and monsters, Gaslight proves that true terror can come from the unseen—from the cracks in a relationship. But let's stir the pot: Is Carpenter's admiration for this film, with its themes of control and madness, a subtle commentary on toxic masculinity in cinema, or just an appreciation for timeless acting? Some might say it's empowering for its female lead's arc, while others could debate if it romanticizes psychological abuse.
So, what do you think? Does Carpenter's foray into crime and noir enhance your view of him as a filmmaker, or does it feel like a departure you'd rather skip? Share your opinions in the comments—do you agree that these films deserve a spot in every movie lover's queue, or is horror his true calling? Let's discuss!
