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Film Noir
Film Noir
the American crime film of the thirties. Following World War II, film noir also absorbed parts of Italian Neorealism, including everyday life and the feeling of desperation. Evil (bottom-right picture) to be the last of the classic-era film noir movies. Welles directed the picture and acted in it as crooked Police Captain Hank Quinlan.
These films were first classified as melodraThe classic movies of film noir usually fall with- mas. Film Noir was not in the range of two mov- used as a term for these ies. The first, The Maltese movies until the label Film noir is a descripFalcon (top-left picture), was coined by a group tive term for the Ameri- starts the film noir genre of French filmmakers can crime film as it of the late 1950s and with Humphrey Bogart flourished from the early as Sam Spade, a private 1960s, who were influforties to the late fifties. eye hired to find the enced by Italian NeorealIt embraces a variety ism and classical Hollypriceless artifact. It was of crime dramas, rangwood cinema. released in 1941 and is ing from claustrophobic considered to be the studies of murder and birth of film noir. psychological entrapment to more general From there, the film treatments of criminal noir classic era boomed organizations. with releases such as Double Indemnity (1944), Film noirs cinematic The Big Sleep (1946), Noorigins can be traced torious (1946), and Out of from the German Exthe Past (1947). pressionist films of the late 1910s and twenties Most film historians using visual symbolism recognize Orson Welles to the development of 1958 movie Touch of
The earliest American crime fiction story dates all the way back to Edgar Allen Poe. The Cask of Amontillado, published in 1846, it is one of the first American crime tales. From there, the hardboiled style of detective and crime fiction develops, such as The Postman Always Rings Twice by James M. Cain. These stories were then popularized by pulp fiction magazines. One of these pulp stories featured author Raymond Chandler who would write the famous private eye character Philip Marlowe in The Big Sleep (right picture). These pulp magazines in the twenties and thirties would have a great impact of film noir movies in the forties and fifties. During this development, the voice-over becomes a common characteristic of these stories. A voice-over is a subjective/confessional narration who is telling the story out of a need to confess/purify/cleanse his conscience. The narration personalizes the experience, similar to reading a first-person novel.
The cinematic themes of film noir, derived from German Expressionism and Italian Neorealism, were imported to Hollywood by migr filmmakers. Noir movies were rooted in the German Expressionism of the 1920s and 1930s, such as in The Cabinet of Dr. Caligari (1919) or Fritz Langs M (1931), Fury (1936) and You Only Live Once (1937). These films from German directors were noted for their stark camera angles and movements, chiaroscuro lighting and shadowy, high-contrast images -- which would all later become vital elements of film noir. Italian Neorealism and the American hardboiled crime drama share a stance of presenting things as they are; both styles wants a cool, unshockable tone when presenting the story. The Neorealist direct approach can complement a film noir story, an example being the 1943 film adaption of The Postman Rings Twice (left picture), directed by Italian Neorealist auteur Luchino Visconti.
2) Femme Fatales mysterious, duplicitous, doublecrossing, gorgeous, unloving, predatory, tough-sweet, unreliable, irresponsible, This seeker-hero is on a manipulative and desperate quest in the noir world. He women. The femme fatale is repeatedly tested, interro- usually got punished in gated, attacked, persecuted early film noir, but could get and will either emerge safe- away with their deception in ly, uncorrupted, strong or be later classics. killed. (Mrs. Dietrichson quietly (Sam Spade pictured below) talks to Neff about killing her husband below in Double Indemnity.)
The Woman The ethics of the woman in the noir world depends on the role that she playsin the film. If she is a woman who is seen as trustworthy, she will have conservative viewpoints as to what the protagonist should do. However, femme fatales are only out for themselves. They believe no one will help them, so they usually only act in their best interest. When dealing with men, femme fatales are all business and will even trade quips that are stronger than the mens are. The Cops The cops in film noir usually follow the letter of the law and will follow the appropriate procedures of arresting, interrogating, and persecuting suspects and criminals. This is unless they are otherwise established as crooked or corrupted beforehand A crooked cop can be the villain, such as Hank Quinlen in Touch of Evil. In other cases, the cops are working with the antagonist, giving the cops kickbacks and bribes to ensure the police stay on their side.
The key point is understanding that in the world of Film Noir, morality is uncertain. Therefore, Film Noir characters do whatever they feel is the right thing to do.