Film Noir

Film noir is a category of film that lasted from the 1940s to the 1950s. Traditional film noir contains tragic plots and posse the question: Why me? French film critics named these American films “film noir” (which translates to black film) because of their dark stories, looming shadows, and mysterious characters. 

In the documentary, Film Noir, director Abraham Polonsky stated that these films are, “reflecting this sense of jeopardy in life which is what exists in all film noir. It’s a correct representation of the system’s anxiety. The 1944 film, Double Idemnity provides a great example of a film noir as Barbara Stanwyck stars as a provocative housewife that lures Fred MacMurray down a dangerous road. 

Double Idemnity (1944)

Barbara Stanwyck’s character, Phyllis Dietrichson embodies anxiety and containment as she states that her husband, “keeps [her] on a leash so tight [she] can't breathe.” This type of jeopardy in her life causes her to contemplate the possibility of the murder of her husband to escape her entrapment as a loyal wife.          

            Phyllis Dietrichson is a femme fatale. Janey Place describes the femme fatale as being, “smart, powerful and sexual,” in the documentary, Film Noir. Phyllis constantly uses her sexuality as a tool to manipulate Fred MacMurray’s character, Walter Neff.  We first meet Phyllis Dietrichson on the inside balcony of her house, wearing nothing but a towel. Her alluring character becomes evident in this scene as well as her dominance. She is filmed looking down at Walter Neff while he is filmed looking up to her. Phyllis will use this powerful sexuality to drag Walter down to his doom.

the Femme Fatal

            The uses of shadow and light play a huge role in film noir. Moody shadows add to the mystique of the dangers of edgy life. The colorless contrast between blacks, grays and whites only enhance the motifs of good versus evil, as well as the unknown. The shadows cast by Venetian blinds suggest entrapment, creating a claustrophobic atmosphere. 

Shaddows and light

When Phyllis and Walter finally commit the murder in the car, the murder itself is not shown, but rather a close up on Phyllis’ emotionless face is shot. This not only allows for the extent of the brutality to be created by the audience’s imagination, but also builds on the cruel character of Phyllis. There is not a slight sign of remorse as her husband slowly dies beside her, but rather a sense of satisfaction that appears on Phyllis’ face as the swelling of the music climaxes. These examples compliment one another to make a great film noir. 

The perfect murder

            Although traditional Hollywood film noir is a thing of the past, neo-noir plays homage to the original film style. Roman Polanski’s 1974 movie, Chinatown is one such neo-noir film. The introduction of color to these films adds a new sense of visual realism, while taking away an artistic styling of an otherwise black and white movie. 

Jack Nicholson and Faye Dunnaway in Chinatown

The overall story of Chinatown plays in to traditional Film Noir. The story includes the detective type protagonist, the femme fatale that he falls for, and the bitterly tragic ending. The Mis-en-scene of Chinatown includes similarities to film noir, such as the uses of lights and shadows, however it is not afraid to hold back on the elements of danger, brutality, or love. While Film Noir relied heavily upon insinuations and ambiguity, neo-noir films are able to create a detailed account of what happens in the story. In Chinatown, we see Jack Nicholson's character get his nose cut by thugs, a bare chested Faye Dunnaway, as well as her shocking death.

A bloody nose

A neo-noir film can also use its musical soundtrack to play homage to film noir. Chinatown's striking score by Jerry Goldsmith not only beautifully accents the film, but has become renowned as one of the best cinematic soundtracks of all time.  

What Makes a Great Movie?

What does it take to make a great movie? There are many key factors that play into what I consider a good movie; however, I believe that a movie must have a great script, fine acting and powerful emotional impact. Most all of my favorite movies contain these three components.

Georges Méliès’ 1902 silent film, Le voyage dans la lune (A Trip to the Moon) is not only a fest for the eyes, but a film that changed the history of film itself. The film tells the story of a group of astronomers and their expedition to the moon. 

The iconic landing on the moon 

            

Once the group lands on the moon, they soon find trouble as they encounter strange creatures. After their brief confrontation with the creatures, the group escapes to the safety of their spaceship. They leave the dangerous moon and crash-land into the safety of Earth’s ocean.

Discovery of the Moon Creatures

            The film was revolutionary from its groundbreaking effects to its imaginative storyline. I found Méliès’ film a great movie. The story was playful and interesting, as the astronomers escaped one wonder only to face another. Watching this film gave me the sense of passion that Georges Méliès put into this film and made it that much more of a great film.

            Edwin S. Porter’s 1903 film, The Great Train Robbery also provided the movie industry with great technological advances. The film, considered to be the first Western ever made, includes a large cast of actors. Actor Justus D. Barnes is responsible for the films infamous finale. Barnes, the gruffy leader of the outlaws menacingly aims and fires at the audience as the camera remains focused dead center upon him. Barnes’ portrayal of the rugged outlaw is extremely convincing and truly gives his character a soul.

The dangerous outlaw

Michael Curtiz’s 1942 film Casablanca has become a popular “Great Movie” as well as a personal favorite movie of mine. Casablanca stars Humphrey Bogart as an American expatriate Rick Blaine, owner of the upscale “Rick's Café Américain.” Ingrid Bergman stars as Rick’s former love, Ilsa Lund; and, Paul Henreid as Victor Laszlo, Ilsa’s husband and fugitive leader. Set in World War 2, the film beautifully tangles the stories of love, war and danger and has created a lasting influence that has only grown with time. The acting in this movie is truly brilliant weather one analyzes the motives of Humphrey Bogart’s dynamic character or admires Dooley Wilson’s admirable character as Bogart’s friend, Sam. 

Sam (Dooley Wilson) left, Rick (Humphrey Bogart) right

The brilliant script throughout the movie keeps the audience on their feet as the uncertain fate of the characters is constantly questioned. When dissected, most all of the film’s dialogue seems almost poetic. The emotional impact that this film has created has created for countless generations has caused this film to become a timeless classic. At a key point in the film, emotions escalate as the all too real conflict created by the War enters the Café as Laszlo orders the house band to play “La Marseillaise” against Strasser’s “Die Wacht am Rhein”. 

Wartime emotions escalate 

Emotions are also stirred as the film's complex love triangle becomes uncertain at the film's airport climax.

"Here's looking at you kid"

The Rodgers and Hammerstein film adaptation of Carousel also employs te key components to the making of a great film. The emotional pull of the internal struggles of the main characters becomes overwhelming as the true feelings of the characters cannot be admitted to. The script in Carousel is a great one and has many layers of complex thinking that compliments the excellent acting of Shirley Jones and Gordon MacRae. The making of a "Great Film" can be contemplated about, but for me, the examples listed above have become examples of my "Great Movies".

To Catch a Thief (1955)

Cary Grant as John Robie and Grace Kelly as Frances Stevens

King Kong (1933)

photo still from King Kong 

Al Jolson in The Jazz Singer (1927)

West Side Story (1961)

Richard Beymer as Tony and Natalie Wood as Maria

Psycho (1960)

Anthony Perkins as Norman Bates

Hollywood Hotel (movie clip) "Hooray for Hollywood"

East of Eaden (1955)

James Dean as Cal Trask

Psycho Trailer (1960)

Casablanca (1942)

Casablanca movie poster

Ever since I can remember, movies have been a part of my life. They have been a source of joy and inspiration for me. No matter what mood I happen to be in, I can always count on a good movie to provide me a brief escape into the great world of cinema.

Some of my all time favorite movies include Casablanca, Rebel Without a Cause, and the Artist; however, I don’t think that I have a greater appreciation for a film than I do for Alfred Hitchcock’s Psycho. I fell in love with Psycho’s moody camera angles, gripping story plot, and haunting score. Anthony Perkins’ portrayal of Norman Bates, an average boy-next-door motel owner with a dark secret, has become one of my favorite filmic personas of all time. Psycho helped solidify my admiration for Sir Alfred Hitchcock, a true master of suspense.

I am grateful to live in a time where movies are so easy to access. I grew up using VHS tapes and DVDs. Nowadays; movies can be streamed online, rented through one’s TV, even viewed from one’s cell phone. No matter what time of day, no matter what day of the week it is, I can watch a movie with little difficulty. I love movies. Movies are a part of who I am.