NoirFilmAnalysis
Americanfilmnoirdidn'tstartasagenrebutavisualstyleoffilmasdepictedin1940sAmerican filmslikeThisGunforHire,butfollowingthecoiningofthetermbypostworldwarIIfrench scholarsfilmnoirespeciallyfromthe70stothepresentdaythroughfilmslikeLAConfidentialhas evolvedtoaveryrecognizableandfullfeaturedgenre.Weareabletorecognizefilmswithinthe noirgenreaswithanygenrefilmsfortheirdistinctsyntacticandsemanticqualities,thesame theories/conceptsRickAltmanusestodefinethedifficultconceptofgenreremainverysimilar betweenthe1940snoirandtoday'scontemporaryneonoir.Intalkingaboutthesyntacticand semanticlistoffilmnoiritsprettyhelpfultoknowandunderstandwhattheseelementsareIt's difficulttosaythatthereisasoleformulaforeverynoirfilm,buttherearemanyrecognizable commonlyoccuringtraitsthatremainconstantfromthegenre'sinceptionover70yearsagogoing forwardintocontemporaryneonoir.IntermsofsyntacticelementsasidentifiedintheBeltontext's noirchapterthemostuniversalelementswouldbethecomplexnarrativestructure,theviolentnature andinvolvementwithcrime,femfatales,arbitrationofjustice,toughguys,andlonelinessTheseare reallywhatdrivethefilmnonvisuallywhereasthesemanticscontributetothevisualstylingsofthe film.Noirfilmssharethecommonsemanticelementsoflowkeylighting,darkandrainynights, sequencing,
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FilmNoirwasextremelytrendyduringthe1940's.Peoplewerecaptivatedbythewayitexpressesa moodofdisillusionmentandindistinctnessbetweengoodandevil.FilmNoirhavekeyelements; crime,mystery,ananti–hero,femmefatale,andchiaroscurolightingandcameraangles.The MalteseFalconisanexampleoffilmnoirbecauseoftheusageofcameraangles,lightingand ominoussettings,aswellassinistercharactersasSamuelSpade,theanti–heroonaquestfor meaning,whoencountersthedeathofhispartnerbutdoesnotshowanysignsofremorsebutinstead forhisgreedforriches.
AllthroughoutTheMalteseFalconthecameraangleschangewiththecharacterCameraanglesand lightingaffectedthemoodofthescene;scenesin...showmorecontent...
Therewereonlyafewinhabitantsonthesidewalksatonepointintime;creatingadesertedand mystifyingscene;whencharacterswalkedontherain–slickedground,theirfootstepscouldbehear echoingthroughthevacantcity.Whenthecharacterswerenotoutsidetheywereinshabbyand dimlylitapartmentsandhotelroomsSpadespentthemajorityofhistimeinhotelroomsand apartmentsgatheringhisinformationabouttheMalteseFalcon,byvisitingthepeoplewhoknew anythingaboutthefalcon.Theeeriesettingsaddedtothemysteryofwherethefalconcouldbe. TheMalteseFalconcontainedmanydifferenttypesofcharacters.Spadewasaprotagonist.While ontheotherhandKasperGutman,JoelCairo,andWilmerwereantagonistsandBrigid O'ShaughnessywasafemmefataleEachofthecharactersportrayscharacteristicsofFilmNoir Spadeisknownasananti–hero,"aprotagonistwholackstheattributesthatmakeaheroicfigure,as nobilityofmindandspirit,alifeorattitudemarkedbyactionorpurpose."(dictionary.com)Spade playsbyhisownrulesandistoughandabitradical,hedoesn'tseemtobeupsetthathispartneris dead.ButinsteadtellshissecretarytoremovehisnamefromthewindowandputSamuelSpade, insteadofSpadeandArcher.Aherowouldnotdoremovethenamebecausebringssuspicion
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FilmNoir:TheMaltesefalconEssay
Filmnoir,popularizedinthe1940's,canbedefinedasatypeofcrimedrama,normallyinblack& white,withasomewhatdepressivetonetoit.Themessuchassexualdeviance,promiscuity,crime, andallaroundpessimismwereprevalentinthesetypesoffilms.Filmnoirreflectedthesocietal attitudesofthetimeaspeoplewererecoveringfromeventslikethegreatdepression,andWorld WarII,allwhiledealingwiththeanxietyofthecoldwarTheseeventsallcontributedtothe popularizationoffilmnoiruntilthesocialrevolutionsofthe1960'schangedthegeneralattitudesof Americanpeople.ThefilmDoubleIndemnitycanbedefinedasfilmnoirforanumberofreasons.
Atthemostbasiclevel,Doubleindemnityisa1940'scrimedrama,showmorecontent
DoubleIndemnityisafilmaboutaninsurancesalesman,Neff,whofallsforonehisclient's,aMr. Dietrichson's,wife,Phyllis.HethenconspireswithPhyllistokillherhusbandandcommitinsurance fraud.NeffandPhyllisopenalifeinsuranceclaimwitha"doubleindemnity",whichisaclausethat allowsbeneficiarystoreceivedoubleortripletheamountofthepolicyifthepolicyholderiskilled byaccidentalmeansItgetscomplicatedonceKeyes,aclaimsadjuster,startstosuspectfoulplayin Dietrichson'sapparentsuicide.TheplotthickensevenmorewhenPhyllis'step–daughterLolacomes toNeffwithaccusationsthatPhylliswasinvolvedinthedeathofherfather.Thingsgetmore complicatedwhenNeffgetsinvolvedwithLolaandLolarevealsthatherboyfriendhasbeen cheatingwithPhyllis.NeffmeetsupwithPhylliswheresheshootshimoncebutisunabletobring herselftokillhimNeffthentakestheweaponfromPhyllisandshootshertwice,killingherNeff thengoesbacktohisofficeandspeaksintohisdictaphonebutisoverheardbyKeyes,whothen learnsthetruthaboutNeff.OnceexposedKeyescontactsthepoliceandthemovieendswithNeff onthegroundunableto
DoubleIndemnityFilmNoirEssay
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ThesequenceillustratesthedominantfeaturesoftheNoirfilmstyle.Somecommonelementsfound inNoirfilmsare:theanti–heroprotagonist,thefemmefatale,tautorno–nonsensedialogue,and high–contrastmise–en–scène.Itcanbeseenthatthesequenceleadsaudiencetotheclimaxofthe storyplot,asMaximfacesanobstaclewhenheisattemptingtoresolvehisownissues,thushemust ownuptotheconsequencesofhisactionsandstoprunningfromthememoryofwhathehasdone, indicatingabreakingchangeintheaudience'sperceptionofMaxim.Therefore,thesequencefulfils the"anti–hero"partoftheNoirfilmplot.Intheclip,itcanalsobeseenthatthedirectorapplied continuityeditingThiseditingmethodinvolvespoint–of–viewshotandshot/reverse–shotshow morecontent...
TheentiresequenceisshotinRebecca'sshack,whichisdarkandmusty,andthereislittlelight comingfromthewindowsbecauseoftherainyweather.Thisbringsfocusandlighttoonlythetwo maincharactersintheroomandtheareathatRebeccawalkedthroughbeforeshedied,makingthe restoftheroomdarkandmysterious;fulfillingthehigh–contrastmise–en–scèneOntheotherhand, onecanalsoarguethatthefilmisbasedonarhetoricalthemeinrelationtothewaysinwhichMrs. DeWinterstrivestogainequalrights.Thefilmrepresentswomenandfeminisminsomeunique ways.Asanexample,thefilmshowsthatwomenarearomanticentertainer,buttheissuetheyhave isthattheybreakawayfromresponsibilitiesathomeandwiththe
NoirFilmEssay
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InPaulSchrader's"notesonfilmnoir"essay,hewascarefullytodescribeaveryvaguenesstothe almostgenreoffilmnoir.Hemadeitclearthatitisagenrethatcannotbespecificallypinneddown toasingleblackandwhitedefinition.Forexampleheverywiselydescribeditbysaying,"Itisa film"noir",asopposedtothepossiblevariantsoffilmgrayorfilmoff–white".Thisexplainshow thereisthissubtlething,orajenesaisquoi,thatbelongstofilmnoirthatmakesitfilmnoirWhile this"thing"thatbelongstofilmnoirisafeeling,itissomethingthatalsoisveryspecifictoaerain time.Schradersayshowitis"periodoftimeinfilmhistory",whichgoestoshowhowstrangefilm noirisHowcansomethingthatissononspecificbelongtosomethingsospecificatthesametime? CharlesHighamandJoelGreenberg'sessay"NoirCinema"takesalikingtoSchrader'sessayinthe sensethatithasthediversiontosubjectfilmnoirtoaharddefinition.ThoughwhileSchradeslike takingastabatfilmnoirthroughtonesandinfluences,HighamandGreenbergseemtodescribefilm noirincharactersandimagesForexampletheysayfilmnoirlivesinaworldthatis"alwaysnight, alwaysfoggyorwet,filledwithgunshotsandsobs,wheremenwearturned–downbrimsontheir hatsandwomenloominfurcoats,gunsthrustdeepintopockets".Theseimagesthataredescribed byHighamandGreenbergarethevisualmanifestationofSchrader'sjenesaisquoioffilmnoir. Theyareallofthedifferentshadesofblackthatmakeupfilmnoir.Bothofthesedescriptionsof filmnoirtakeacomplimenttoeachother,thoughtheydiffergreatlyintheircategorizationas SchradersaysfilmnoirisnotquiteagenrewhileHighamandGreenbergsayitisHighamand Greenbergliketofocusontheeffectofthefemalecharacter,orfemmefatale,offilmnoir.They seemtosuggestthatthetoneofthefilmnoir,whichcouldbeagoodcase,isdependentonthe actionsandcharacterofthefemmefataleofthefilmTheworldofthefilmsseemsalittleless corruptandnegativeingeneral,whenthefemmefataleorfemale'splotendsonahappiernote.Ina way,theredefinitionofthefilmnoir'sworldis
NoirFilmAnalysis
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FilmNoir'sEffectonModernCinema
Highheelsclickonwetpavement,shadydetectivesstandintheshadows,shotsringoutthroughthe cold,darkcitynight–justanothermomentinfilmnoir.Theseseedy,almostundergroundfilmsare consideredtobesomeofthebestandmostinfluentialpicturesinthehistoryofHollywoodby anyone'sstandards,mostcertainlysomeofthedarkest.Eventhoughtheglorydaysoffilmnoirhave longpassedandgivenwaytobigbudgetproductions,theirinfluenceandeffectontheindustrycan befeltandseenthroughoutthemoviesoftoday
ThetermfilmnoirisaFrenchtermliterallymeaning,blackcinema.Duringthesecondworldwar occupyingGermanswouldcontrolwhatpicturesthepeopleofshowmorecontent
SuchasthecharacterofSamSpade(playedbyHumphreyBogart)inTheMalteseFalcon(1941), whoishimselfbeingpursuedbypoliceafterthemysteriousdeathofhispartnerInpursuitofagold encrustedstatueofafalcon,thewomanwhoaskshimtogoafterturnsouttobehisenemytheentire time,usingherfiercesexualitytolurehimalongandmanipulatehisactions[3].Intheend,instead oftheclassic?gettingthegirl?scenariosocommoninHollywood,Spadesimplyturnsheroverthe authorities,condemninghertoprisonandpossiblyevendeath.Therearerarelyhappyendingsin filmnoirs,especiallywithcharacterssuchasthese
Theothermostnotedcharactertobebirthedfromnoiristhatofthefemmefatale,orspiderwoman. Sheisoftenextremelysexual,andtriestocontrolmen(oftentheprivateeye/antihero)todotheir bidding[2].In1944?sDoubleIndemnity,BarbaraStanwyckplaysPhyllisDietrichsonthewifeofa wealthymanwithaheftylifeinsurancepolicy.Throughoutthefilmshecoercesandmanipulatesthe film?smaincharacter,aninsurancesalesmannamedWalterNeff(playedbyFredMacMurray)into carryingoutthemurderanddisposalofherhusbandtogainthemoneyfromhislifeinsurancepolicy [3]However,sheonlywantstokillhimintheendtohavethemoneytoherself?butalasthisisfilm noirandthefilmends
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FilmNoirResearchPaper
TheHaysCodeinFilmNoir
TheMotionPictureProductionCode,commonlyknownastheHaysCode,wasadoptedinMarch 1930,thoughitwasnottrulyenforceduntilfouryearslaterin1934.Thissetofruleshad tremendouslyinfluencedthewayHollywoodmoviesweremadeforanumberofyears.Thiscode wasbasedontheethicsandnormsifthattimeTherewerethreemainprincipalsoftheHaysCode Thefirstwasnopictureshallbeproducedthatwilllowerthemoralstandardofthosewhoseeit. Whatwasmeantbythiswasthatsympathyshouldnotbeportrayedtowardscrimes,wrongdoings, evilorsinsThesecondstatedthatonlyacorrectstandardoflivingcouldbepresentedthatareonly subjecttotherequirementsofdramaand...showmorecontent...
Oneofthemainthingstheyhadtoworkaroundwasthattherecouldbenoimplicitsexbetween BrigidandSpade.Thisrestrictionhastodowiththesecondapplicationwhichregulatesthepresents ofsex.Itwasrequiredthatthesanctityoftheinstitutionofmarriageandthehomeshouldbeupheld. Sincethetwowerenotmarried,thecoderestrictedthemfrominferringthatanysortofsex relationshipwasacommonandanacceptedpractice.SpadesrelationshipwithEffie,hissecretary, neededtobekepttoalevelthatwouldnotimplythathehadanysortofsexualrelationshipwithher aswell.AlthoughtheHayscodeacknowledgesthatadulterytypesituationsareacceptableonlyif theyarenecessarytotheplotmaterial,itshouldinnowaybeexplicitlytreated,justified,or presentedinanattractivewayAlltheregulationsregardingsexintheHaysCode,madeit extremelydifficultforfilmnoirsinceoneofthemainthemesoffilmnoirinvolvessexual motivation.Inparticularitheldbackthenotoriousfemmefatalefromexudinghersexuallyupon menwiththeintentofmakingherownpersonalgains
Oneofthestaplesofthefilmnoiristhehardboileddetectivethatisutterlyoutofcontrolinmany aspectsofhislife.SeveralelementsofSpade'scharacterhadtobealteredtomeetthecode consequentlyandultimatelyweakenedhischaracter.Hisdrinkinghadtobekeptto
EssayonTheHaysCodeinFilmNoir
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AfterWorldWarII,theAmericanmotionpicturestudiosbeganreleasingfilmsshotinblackand white,withahighcontraststyleknownasFilmNoir.Thoughtherootsofthisstyleoffilmwas greatlyinfluencedbytheGermanExpressionistmovementinfilmduringthelate1910–early1920's, andfilmsthatresembledthisstyleweremadepriortothewar,includingtheearlyfilmsbyFritz Lang,aGermandirectorwhofledGermanypriortothewartoworkinAmerica,thisfilmstyle wouldbecomeprevalentduringthepostWWIIera.Besidestheshadowedlightingstyleandthe psychologicallyexpressivemise–en–scène,thefilmnoirplot–linesoftensurroundedcrimedramas andweregreatlyinfluencedbythepulpfictionnovelsoftheperiodbyauthorslikeDashiell Hammettand...showmorecontent...
In1949,RCAintroducedthe45RPMsinglevinylrecord.TheLPprevailedforastheformatused foralbumsandcollectionsofsongs,whilethe45RPMrecordsdominatedreleasesofsinglesongs. Duringthe1950's,Top40orContemporaryHits,aformatofthetophitsontheBillboardMagazine bestsellingcharts,becameoneofthemostpopularradioformats,andDJgravitatedtowardthe45 RPMsingles.ThewerelessexpensivethantheLP'sandandtheyappealedtoayoungeraudience. Thismovementtowardayoungeraudiencewashelpedin1954bytheintroductionofthepocket transistorradiobyRegency.
TheLPsoldwellduringthefifties,mostlytofansofhighfidelitymusicwhowantedlongercuts, likejazzorclassicalrecordsStartingin1956,FMradioand331/3RPMLP'swouldmoveinto stereosound,wheretherewouldbetwoseparatecoordinatedchannelsofmusic.Whenmusicwas notthepredominantprogramming,thensoundqualitywasnotasimportanttoaudiences,butas musiccametoruletheairwaves,FMradiodrewinnewlistenersbecauseofitshigh–fidelitysound
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FilmNoir'sInfluenceOnAmericanFilms
"FilmNoir"isatermthathasbeenupfordebateforanextendedtimeperiod.FilmNoirisFrench for"BlackFilm",itwasusedtodescribeaproportionofAmericanfilmsthatreachedaFrench audienceforthefirsttimeafterWorldWarII.TheseAmericanmoviesdepictedorexpressedthe feelingsofthistimeperiod.Theworldwasgoingthroughadarkandgloomytime.Itanalyzedthe socialaspectsanditwasevidentinfilmsinvariouswaysThemoviescharacterizedas"FilmNoir" sharedthemesofsocialfailure,fatalattraction,andcriminalperversity.Casablanca,Double Indemnity,andPostmanAlwaysRingsTwicearejustafewfilmsknownasClassicNoir.Although FilmNoircanfitintomanycategoriesofgenreslike:crimegenre,thriller,
FilmNoir
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IhavetosayrightfromthewordgothatthisisclassicfilmnoirintrueHollywoodstyle,andas detectivefilmsgomightjustbethebestacted,bestscriptedandbestdirectedwhodunnityouwill everhavetheprivilegeofwatching.BogartplaysprivateeyePhillipMarlowe,hiredbyadyingold manwithtwobeautiful,butuncontrollabledaughters.
OnedaughterisCarmen–playedsuperblybyMarthaVickers–whoisbeingblackmailed,which Marloweishiredtodealwiththeblackmailer.Hehardlygetsthechancethough,becausethebad guygetskilledoffveryquickly,thopughMarlowesensesthatthisisjustthestartofthingsHeis attractedto,butalsosupiciousoftheotherdaughterVivien–LaurenBacallatherbest–andthe filmshowmorecontent
TherearesomewhothinkthatHawksover–complicatedthings,butifyouconcentrateyoucan followit,evenifititisprettyconvolutedattimes.
Thenotincomprehensiblestoryactuallyunfoldsatafranticpace,andyoufindyourselfableto forgivetheoddstrangeoccurrencelikeCarmensuddenlybeinginsideMarlowe'sapartment,and thoughnottheeasiestofstoriestofollow,theoccasionalmomentswhenMarloweexplainsthings domakeabigdifference.Tomymind,eventhoughthismovieisnow71yearsold,modern directorscouldtakelessonsfromitinhowmakethisgenreoffilmedge–of–your–seatexciting Hawksmakesperfectuseofatremendouslydrolldialogue,afantasticadaptationjobfromthe Chandlerbook,andthetwostarshavesomefabulousverbaljousts,includingsomeofthemost memorableofverbalexchangesinwhichtheytalkaboutthesportofkings–horseracing–treating theaudiencestoallkindsofhiddenmeaningsbehindtheirwords,andonephone–callbetweenthe pairthatistruly
FilmNoir:AClassicFilmNoir
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ThecinematicconventionsofFilmnoirbecameprevalentinthePre–CodeHollywooderaofthe 1930s,andaswellasinfluencinggenerationsoffilmmakersacrossthedecadesithasremaineda genretowhichdirectorsandwriterskeepcomingback.Akeytoitssuccessareitsuniquevisual style.Thewashedoutcolourpaletteandslowmovementofthecamerabothbringanuneasytension totheworlditportraysItisaworldthatrunsparalleltotheeverydayone,butwithinitliesdeceit, heartbreakandmurder.Ourheroesaredownontheirluckpoliceofficialsanddamesindespair, eachwiththeirownuniquesetofflawsthatareonlyhighlightedbytheirsurroundings.NewYork, LAandParis,areafewofthecitiesthatprovidethelandscape
FilmNoir:TheCinematicConventionsOfFilmNoir
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Filmnoir–meaning"blackfilm"or"darkfilm"inFrench–isanestablishedgenreoffilmwhich normallycomprisestheelementsofcrime,mystery,anddrama.Thesefilmswereproducedfromthe early1940stothelate1950s.
Beforetheterm"filmnoir"wascoinedbyfilmcritics,thesepictureswerereferredtoas "melodramas".Theyweredark,bold,adult–oriented.Movieaudiencesrespondedtothemwith excitement,asdidwritersanddirectors,eagertobringmoreofthesestoriestoHollywood.
Filmnoiristypicallycharacterizedbyitsuniquevisualstyle.Theyarenormallyinblackandwhite, withlow–keylighting,imbalancedcomposition,andtheuseofextremehighorlowcameraangles. Othertechniquesthatcanbenoticedincludethe ...Getmorecontent...
FilmNoirResearchPaper
Thefilmisfullofnoirmise–en–sceneconventions.Forexample,thetiltedanglestocreate disorientationandhintatthefatalisticnightmarethemeareusedbrilliantly.Lightingwasused beautifully.Forexample,theuseofshadowsareusedtotheultimateeffectinsomescenes.The tilted,highandlowanglesarealsousedveryeffectivelyinmanyotherscenes.Lowangledshotsto helpshowdominanceandhighanglestoshowvulnerableorpowerlesscharactersTheuseofprops andmakeupisalsousedverywell,withthemenwearingsuits,trenchcoatsandtophatsandthe womanwearingbrightlipstickanddresses.Theset/locationtendedtobeverynoirconventional withsetsoccurringatbars,streets,apartmentsand
FilmNoirFilmTechniquesAndTechniques
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Filmnoirisdescribedasbeingapieceofcrimedramathatinvolvestheuseofspecificnarrative elementsandfilmelements.Throughtheuseoftheseelements,countlessindividualsareentertained bythepuredrama.Filmnoir,representscrimeexamplesthatmanyindividualsintheUnitedStates couldrelateto;especiallythosethatwerelivingpostwarinthe1950s.FromFrenchroots,theterm filmnoirhasaliteralmeaningof"darkfilm""Darkfilm"isanacceptablecoinedtermfornoir, becauseitrepresentsacharacterthatisintheirdarkesttimeandismanipulatedbyafemmefatale character.Thenoiralsohavingaverysinisterstorylineisalsoareasonforitbeingdark.According totheknowledgeableRichardSchickel,"despiteitsFrenchifiedname,[noir]isatrulyAmerican form".MainlyfilmnoiriscreatedfortheAmericanaudiencesbecauseduring...showmorecontent... Ineverynoir,therehastobeafemmefatale,becausewithoutthiscontrollingantagonist,there wouldbenoexistenceofnoir.Thefemmefatalecharacterisanattractivefemaleinthefilmwhois manipulativeandwillruinthemaleprotagonist'slife.InadditionEncyclopediaBritannicaexplains how,"thewomenoffilmnoiroftenevokesympathy,astheyarefrequentlyvictimsofemotionalor physicalabuse,withsuchvictimizationprovidingimpetusfortheirvengeance".Theyareintelligible enoughtomakeitseemasiftheyarethevictim,butinrealitytheymakethemaleantagonisttheir victim.Forthisreason,sheisthemainattractionofthedarksideofnoir.Failuredoesnotcoincide withherdesires,soshewillnotletfailuretakeoverher.Lastly,theideaofwritersanddirectors creatingthischaracterinfluencedAmericancultureBeforeWorldWarII,menhadtoomuch controloverfemales.PostWorldWarII,womenwerebecomingmoreandmoreindependentand lesssubmissiveto
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AnalysisOfFilmNoir
Theterm'filmnoir'stemsfromtheFrenchmeaning'darkfilm'with'dark'meaningsinisteror dreadful.ThetermoriginatedfromFrenchcriticssuchasRaymondBordeandEtineeneChuameton. BeforetheoutbreakofWorldWarTwofrenchfilmgoerswereusedtofilmslikeTheWizardofOz comingfromAmericanstudiossoyoucanimaginetheirshockwhenpostwarcinemafromAmerica werefulloffilmssuchasDoubleIndemnity,ThePostmanAlwaysRingsTwice,Vertigo,Murder MySweet.MostFrenchcriticsnotedthatseveralofthesefilmsthatwererealisedwerebasedon hardboileddetectivefictioncrimenovelsbywriterslikeRaymondChandler,DashielHammettand JamesMCainInFrance,booksbythesewriterswerepublishedundertheheading
FilmNoir:FactOrFiction?
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TheHistoryofFilmNoir
FilmNoirliterallymeans'BlackFilm'.ThistermwasfirstcoinedbyFrenchfilmcriticNinoFrank, whonoticedatrendinthedarknessofthemesinmanyAmericanfilmsthatconstitutedwartime cinema
Classicfilmnoirdevelopedduringthe1940'sduringandafterWorldWartwo,takingadvantageof thepostwarzeitgeistofanxiety,pessimismandsuspicionMistrust,fear,paranoia,andbleaknessis obviousinnoir,itreflectsthecoldwarperiodwhenthethreatofnuclearannihilationwasever present.
Thecategorisationofnoirisverydifficulttopropose,Theterm'FilmNoir'wasnotrecognisedinthe industryorbytheaudiencesinthe1940's,forexampleitshowmorecontent
TheclassiccharacteristicsofaMalepersonalityinafilmnoirismoody,melancholy,cynicaland hardhearted.Hewillalmostalwaysfallfortheheartless,doublecrossing,mysteriousand manipulative'FemmeFatal'
Hewillalsobeinvolvedwiththeotherclassicnoircharactersincluding:pettycriminals, sociopaths,gangsters,villainsandtheinnocent'girlnextdoor'character.
Someofthefirstfilmnoirsareasfollows
ŸMalteseFalcon(1941)
ŸMurder,MySweet(1944)
ŸDoubleIndemnity(1944)
ŸLaura(1944)
ŸTheWomanInTheWindow(1944)
WhenKathieMoffett(Greer)shootsheradmirer,WhitSterling(Douglas),abigtimegambler,and abscondswith$40,000ofhismoney,SterlinghiresaprivatedetectiveJeffBailey(Mitchum)tofind her.BaileyleavesNewYorkandcatchesupwithKathieinMexico.Kathiedeniestakingthemoney andafterfallingforhercharms,BaileynotifiesSterlingthathecouldnotfindher.
ThefilmhasafairamountofdoublecrossingBaileydoublecrossingStirlingandKathiedouble crossingbothmenSheistheclassic'FemmeFatal'
TheHistoryofFilmNoirEssay
IhavedecidedonatenminutesceneinwhichJeffBaileymeetsKathieMoffettforthefirsttime.
ThescenebeginswithavoiceoverfromBailey,hetellsus(theaudience)thathewillwaitinacafé untilhefindsher.Thecaféhechooses
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The1940'swereatimeofwarandthenprosperityforAmericans,notonlyinwealthbutinachance forabettereducationandsocialeconomicstatus.Filmswentfrompatrioticduringthewartoamore realisticportrayaltowardstheendofthewarin1945.Bythesecondhalfofthe1940's,withan injectionofexpatriatedirectorstrainedintheGermanvisualevocationofemotiontotheFrench poeticrealisticfilms,anewstyleoffilmswereabouttoemergeAsimilarchangewasalso happeninginreality,fromthehopeoftheformationoftheUnitedNationstothestartoftheCold War.Filmnoirmovies,agenredisassociatedwiththewarwasmadeinthe1940's.Thisgenre reflectedhowHollywoodfeltduringthechallengesofthewarandpost–warIthadsomberdark plots,untrustworthyfemmefatalesandcynicalheroes.Themoviesweresetinlowkeylightsand seedy,smokyrooms.Inthefilms,thewomenwereseenas"glamorousanddangerous"whowanted powerandwealth,whereasthemenweredepictedasweakandwerenotabletobeahero.The minorcharactersweretraumatizedbyviolenceandsex.InWomaninaWindowandScarletStreet, theleadmaleistraumatizedbyabeautifulwomanThefilm,MildredPierce,followsahousewife fromarestaurantworkertoonethatownsseveralrestaurants....showmorecontent...
Noneofthesefilmsportrayeddiscriminationandracismassystematic,butratherthevillainwas psychopathicortheissuewasn'treallyconfrontedatall.Thetworacismrelatedfilmsmentioned abovehadwhitepeopleplayingtheleads,asblackswhocouldpassaswhite.Thesefilms,aswellas thefilmnoirmovies,veryoftenhadahappyendingDespitethelogicalconclusion,inkeepingwith theimageryinthefilm,shouldbelessthanhappy,eventheycouldn'tescapethesocial,political, andeconomiclandscapeofthe
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FilmNoirFilmsAnalysis
Filmnoirisacinematictermusedtodescribestylishcrimedramamovies.Theyusuallyinvolve cynicalattitudesandsexualmotivations."Allfilmnoirmoviesareshotinblackandwhitegiving senseofmoralcorruption,evilnessordesperation.Adark–themedmusicisplayedmakingthe moviemoremysterious.Theworldinsidethefilmnoirmovieisfilledwithdoom,fate,fearand betrayalThefactorinthemovie"Outofthepast"thatprovesitisfilmnoirareatmosphereof movie,presenceofcharacterasfemmefataleanddoomedcharacter.
Themovieisshotinblackandwhitegivingviewerthesenseofdarkworldfilledwithmoral corruption,evilnessandbetrayalInthemovie,JeffwashiredbythegangsternamedWhitSterling totrackdownhismistressnamedKathieMoffat.WhittoldJeffthatsheshothimandranawaywith $40,000.JeffwassupposedtobringKathiebackbutinsteadheranawaywithher.Thisprovidethe evidencetothepresenceofbetrayalinthemovie.Theuseofshadowsandlightinginthismovieis alsoanotheraspectthatprovesthatthismovieisFilmNoir.This...showmorecontent...
Inthismovie,KathieplayedasaFemmeFataleShepossesseverycharacteristicsofitSheis gorgeous,manipulativeandverymysterious."Shewasportrayedasatreacherouswomanwho rarelyhesitatestokilltogetwhatshewants."Sheneverfailstomaintainasereneexpressiononher facewhenotherswouldshowpanic.Thatserenitycarrysomethingdeepinheractportrayingheras verymysteriouswoman.SheconvincedJeffthatshehadn'tstolen$40,000andsheshotWhit Sterlinginself–defenseThisistheevidencethatproveshermanipulativenatureLikeanyother FemmeFatale,Kathiealsohasbadinfluenceonlifeofcharacters.Shehasgreatestimpactonnot onlyinWhit'slifebutalsoinBailey'slife.Jeff'sbehaviorchangesthroughoutthemoviedueto Kathie'sroleinhis
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FilmNoir:OutOfThePast
