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is among the most acclaimed and popular actors of his generation, starring in a huge variety of genres throughout the decades. However, one of the few genres where Stewart never really found major success was film noir, a variation of the typical crime narrative that became popular in the 1950s for its dark aesthetics and cynical storylines. Some of the best film noirs were made during this period, but Stewart was rarely involved in them.

Instead, Stewart made his name in more traditional genres for actors of that era: namely crime dramas and American Westerns. He was among the most prolific Western stars of the '50s and '60s, and before that, his work with Alfred Hitchcock made him a genre-defining crime star. However, — he actually made a very successful noir movie in 1948 that still holds up brilliantly today. It's one of James Stewart's best movies, but it's often forgotten among the classics in his filmography.

Call Northside 777 tells the story of a news reporter in Chicago named Jim McNeal, who spends his time investigating a dormant murder case from over a decade ago. As he develops his own suspicions that the wrong man was charged with the crime, he takes matters into his own hands to figure out the truth in morally ambiguous ways. It's an incredibly exciting and engaging film despite its very slow pace, which is a trademark of any good film noir. Stewart delivers one of his most fine-tuned performances in the lead role.

Unsurprisingly, and received widespread acclaim for its dedication to the noir movement and its rich, atmospheric storytelling. Stewart's performance pushed him even further into the spotlight, helping to create the star persona that would eventually make him one of America's most beloved actors. The film uses all the tropes of the noir genre, from the experimental use of shadows and lighting to the gritty narrative and methodical pacing.

Although Stewart has made several movies that adopt traits from the film noir movement, Call Northside 777 is the only movie in his catalog that fully deserves to be titled as one. It's such a fundamental entry in the genre, changing the way that audiences interacted with this style of film on the big screen — as reflected by its persisting 81% on Rotten Tomatoes. That being said, many of James Stewart's collaborations with Alfred Hitchcock have been loosely adopted by the noir genre due to the methods by which they pay homage to this cinematic movement.

through its dark mise-en-scene and criminal conspiracies. This was the case with many of Hitchcock's movies: They're not strictly noir, but they wouldn't exist without that genre coming first. The director's tonality was slightly different, which is why a straight-cut actor like Stewart fit more neatly into his narratives than the more ambiguous leading men of the noir movement.

As mentioned, Stewart didn't have the kind of public image that was expected of actors within the film noir genre. At least during the early years of his career, he was perceived as a very moral and stoic leading hero, with roles in Rope and Rear Window solidifying him as a strong character that audiences could look up to. However, leading the audience down much darker paths that Stewart's renowned charm may not have been well-suited for.

The movies that defined James Stewart's career always presented him as a "nice guy" who was either wrongfully treated or used his morality to save the day. This is clearly seen in projects like The Philadelphia Story or It's A Wonderful Life - it's hard to imagine George Bailey in a project like The Big Sleep, which is why wasn't frequently considered for such roles. Thankfully, Call Northside 777 proved that he was more than capable of tackling the genre.