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.