Noir 1940s High-Contrast Venetian Blind Shadow

Re-render this image in the visual register of late-1940s American film-noir movie-poster art and the source-film cinematography it descended from (Double Indemnity, Out of the Past, The Big Sleep, Detour, Murder My Sweet, roughly 1945 through 1952). High-contrast chiaroscuro: deep blacks dominate two-thirds or more of the frame, with light carved into the composition as hard slashing diagonals. Venetian-blind shadow patterns striping across the subject and the background wall, the geometry of light doing the work of expensive sets. Palette restricted: ivory black, paper cream, hot specular white, and one warm muted accent (cigarette ember, blood-red, brass-yellow, faded teal). No full color photographic register, this reads as duotone or hand-tinted black-and-white. Composition asymmetric and unstable: low or high camera angle, subject pushed to one side, dominant negative space filled with shadow rather than emptiness, hard diagonal sight lines, off-balance horizons. Surface: lithographic poster grain, slight registration drift between black plate and accent color, paper texture visible in the cream highlights, the print quality of a 1948 one-sheet. Mood: existential dread, postwar disillusionment, moral ambiguity rendered as lighting choice. Strictly no on-canvas text, no taglines, no title typography, no studio marks, no legible lettering, no watermark. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering. Aspect ratio matches source.