Genre One:Genre One:Classic Film NoirClassic Film Noir

Literally ‘black film’Literally ‘black film’

Bogart in The Maltese Falcon (1941)

BackgroundBackground In the early 1940s a new form of cinema emerged in the In the early 1940s a new form of cinema emerged in the

United States. Dark and gloomy it reflected the anxieties United States. Dark and gloomy it reflected the anxieties of a country entering a new era and was a rejection of of a country entering a new era and was a rejection of the Hollywood glamour of the 1930s. the Hollywood glamour of the 1930s.

The early forties generated an economic boom as The early forties generated an economic boom as entered World War II. But after the war some became entered World War II. But after the war some became concerned by the clash between idealism and concerned by the clash between idealism and materialism. materialism.

Add to this equation paranoia of Russia and communism Add to this equation paranoia of Russia and communism and we have the climate of suspicion and unease. and we have the climate of suspicion and unease.

First: First: The Maltese FalconThe Maltese Falcon (1941) Starring Humphrey (1941) Starring Humphrey Bogart as detective Sam Spade and the last in the Bogart as detective Sam Spade and the last in the classic period: classic period: Touch of EvilTouch of Evil (1958) Orson Wells and (1958) Orson Wells and starring Charlton Heston. starring Charlton Heston.

Atmosphere/ Mood – these words Atmosphere/ Mood – these words should appear in film notes and should appear in film notes and essays about Film Noir moviesessays about Film Noir movies

MelancholyMelancholy AlienationAlienation BleaknessBleakness DisillusionmentDisillusionment DisenchantmentDisenchantment PessimismPessimism AmbiguityAmbiguity Moral corruptionMoral corruption EvilEvil GuiltGuilt Paranoia.Paranoia.

The ingredients of classic film noirThe ingredients of classic film noir

One (of twelve)One (of twelve) Dark, shadowy, Dark, shadowy,

contrasting images contrasting images filmed in black and filmed in black and white, often at night white, often at night and usually in gritty and usually in gritty urban settings.urban settings.

Ingredients of classic film noir Ingredients of classic film noir

TwoTwo Hard-boiled, cynical, disillusioned characters Hard-boiled, cynical, disillusioned characters

– who, nevertheless, are usually likeable– who, nevertheless, are usually likeable..

Ingredients of classic film noirIngredients of classic film noir

ThreeThree A male protagonist facing a moral A male protagonist facing a moral

dilemma and/or some kind of threatdilemma and/or some kind of threat He is usually a hard working, “brooding, He is usually a hard working, “brooding,

menacing, sinister, sardonic, disillusioned, menacing, sinister, sardonic, disillusioned, frightened and insecure man who is frightened and insecure man who is alienated from society” (Tims1996). alienated from society” (Tims1996).

He is a loner hidden in metropolitan He is a loner hidden in metropolitan architecture who makes his daily way architecture who makes his daily way through desolate red-light districts and through desolate red-light districts and other filthy and ghetto-like areas of his other filthy and ghetto-like areas of his environment looking for possible environment looking for possible hints/clues for his work. hints/clues for his work.

There is no place for happiness, he does There is no place for happiness, he does not become rich or find happiness with a not become rich or find happiness with a woman. woman.

It is through his eyes that the audience is It is through his eyes that the audience is shown a world dominated by corruption shown a world dominated by corruption and greed, violence and crime where there and greed, violence and crime where there is fine line between right and wrong. is fine line between right and wrong.

The ingredients of classic film noirThe ingredients of classic film noirFourFour The femme fatale (deadly woman): the one posing on the The femme fatale (deadly woman): the one posing on the

cover/poster with a gun, a cocktail glass and a smouldering cover/poster with a gun, a cocktail glass and a smouldering cigarette.cigarette.

She’s gorgeous, unloving, predatory, unreliable, manipulative and She’s gorgeous, unloving, predatory, unreliable, manipulative and desperate. desperate.

She’s an alluring, sassy, independent and usually dangerous She’s an alluring, sassy, independent and usually dangerous woman, who often suffers for her independence. woman, who often suffers for her independence.

She is sometimes a sexual predator who tempts and weakens a She is sometimes a sexual predator who tempts and weakens a male protagonist and sometimes she actually initiates male male protagonist and sometimes she actually initiates male aggression and gains male power. aggression and gains male power.

Unlike the ‘housewife’ the femme fatale’s Unlike the ‘housewife’ the femme fatale’s independence, sexual prowess and independence, sexual prowess and ambitions jeopardise not only the ambitions jeopardise not only the protagonist, but the entire system.protagonist, but the entire system.

Ingredients of film noirIngredients of film noir

FiveFiveOften a crime or detective storyOften a crime or detective story

Ingredients of classic film noirIngredients of classic film noir

SixSixFlashbacks – a Flashbacks – a

wavering past and wavering past and present, inextricably present, inextricably linked.linked.

Ingredients of classic film noirIngredients of classic film noirSevenSeven A voice-over narrationA voice-over narration

Ingredients of classic film noirIngredients of classic film noir

EightEight Crisp, witty dialogue, sprinkled with great one-linersCrisp, witty dialogue, sprinkled with great one-liners

"You're like a leaf that blows from one gutter to another." "You're like a leaf that blows from one gutter to another." Out of the PastOut of the Past (1947)(1947)

"With my brains and your looks, we could go places" "With my brains and your looks, we could go places" The Postman always The Postman always rings twicerings twice (1946) (1946)

  "I have no memory. It's like looking in a mirror and seeing nothing but "I have no memory. It's like looking in a mirror and seeing nothing but mirror." mirror." SpellboundSpellbound (1945) (1945)

"When you're slapped, you'll take it and like it." "When you're slapped, you'll take it and like it." The Maltese FalconThe Maltese Falcon (1941) (1941)   "I was born when she kissed me. I died when she left me. I lived a few "I was born when she kissed me. I died when she left me. I lived a few

weeks while she loved me." weeks while she loved me." In a Lonely PlaceIn a Lonely Place (1950) (1950) ““It’s a terrible thing to hate your mother. But I didn't always hate her. When I It’s a terrible thing to hate your mother. But I didn't always hate her. When I

was a child, I only kind of disliked her." was a child, I only kind of disliked her." The Manchurian CandidateThe Manchurian Candidate (1962) (1962) "I came to Casablanca for the waters." "But we're in the middle of the "I came to Casablanca for the waters." "But we're in the middle of the

desert." "I was misinformed." desert." "I was misinformed." CasablancaCasablanca (1942) (1942)

Ingredients of classic film noirIngredients of classic film noirNineNine A healthy dose of paranoia or,A healthy dose of paranoia or, at the very least, a strong sense of betrayal, at the very least, a strong sense of betrayal,

insecurity or sense of being trapped.insecurity or sense of being trapped.

Bogart in The Big Sleep (1946)

Ingredients of classic film noirIngredients of classic film noir

TenTenAngst, American styleAngst, American style

Ingredients of classic film noirIngredients of classic film noir

ElevenElevenNo happy ending. A happy ending turns No happy ending. A happy ending turns

a film noir into a film noir into film grisfilm gris or a melodrama or a melodrama done in noir style.done in noir style.

Ingredients of classic film noirIngredients of classic film noir

TwelveTwelveDisorientating camera angles, Disorientating camera angles,

expressionist, distorted close-ups and expressionist, distorted close-ups and chiaroscuro lighting that fills the frame chiaroscuro lighting that fills the frame with shafts of light and shadow to with shafts of light and shadow to create a world of claustrophobia and create a world of claustrophobia and fear.fear.