Film NoirFilm Noir

““Black Film”Black Film”OrOr

““Dark Film”Dark Film”

The The film noirfilm noir genre was born genre was born from crime films: from crime films:

audiences grew bored with audiences grew bored with the criminal protagonist.the criminal protagonist.

wanted more of a hero wanted more of a hero during war timesduring war times

more intelligent: German more intelligent: German Expressionists heavily Expressionists heavily influenced with influenced with mise-en-mise-en-scenescene..

Lasted from 1945-ish to 1950-Lasted from 1945-ish to 1950-ish. They became simplified ish. They became simplified and too common. Did leave and too common. Did leave a lasting impressiona lasting impression

Some Some film film noirnoir films films

have have criminals and criminals and private eyes, private eyes,

but not all but not all private eye private eye

or crime films or crime films are are film noirfilm noir..

There is no true definition of a There is no true definition of a film noirfilm noir, yet many contain , yet many contain similar characteristics.similar characteristics.

Darkness represents two ideas:Darkness represents two ideas:

Darkness of settingDarkness of setting

Darkness of humanityDarkness of humanity

Humphrey Bogart in The Maltese Falcon (1941)

Darkness of the SettingDarkness of the Setting

Cities:Cities: Mean, nasty places where anything can Mean, nasty places where anything can

happen at any momenthappen at any moment Violence and crime occur often, usually Violence and crime occur often, usually

randomlyrandomly Sex: strip clubs, bars, sultry women Sex: strip clubs, bars, sultry women

aboundabound Cities are grimy, dirty places with lots of Cities are grimy, dirty places with lots of

shadows.shadows.

Fog:Fog: Fog obscures, makes Fog obscures, makes

unclear and unknown.unclear and unknown. Fate, mystery, future .Fate, mystery, future .

Water:Water: What lies under the water?What lies under the water? Rarely can the audience see Rarely can the audience see

below the surface of water.below the surface of water. Sometimes choppy and Sometimes choppy and

tumultuoustumultuous

Casablanca (1942)

What Lies Beneath (2000)

Lighting:Lighting: Film noir uses Film noir uses high contrast lightinghigh contrast lighting with with

lots of shadows. lots of shadows. Sometimes props are the only source of Sometimes props are the only source of

lightlight

This is called This is called low key lightinglow key lighting..– Little Little key lightingkey lighting (principle source of light) (principle source of light)– Mostly Mostly fill lightfill light (lights from side or back) (lights from side or back)– Comedies, musicals use Comedies, musicals use high key lightinghigh key lighting to to

create uniform light with little contrastcreate uniform light with little contrast

Notice the Brox Sisters in 1929’s Singing in

the Rain. What do you notice about the

lighting?

What do you see for lighting in this image of Bogart from Casablanca (1942)?

Darkness of Humanity:Darkness of Humanity:It’s a world of paranoia and entrapmentIt’s a world of paranoia and entrapment Male protagonist feels trapped and Male protagonist feels trapped and

overwhelmed by a situationoverwhelmed by a situation Chance plays a larger role than fateChance plays a larger role than fate Heavy use of Heavy use of mise-en-scenemise-en-scene to show to show

craziness and entrapment:craziness and entrapment:– Bars or lines in front or behind characterBars or lines in front or behind character– Tight framingTight framing– Canted shotsCanted shots– Odd anglesOdd angles– Slow tracking shotsSlow tracking shots– Backward tracking shotsBackward tracking shots

Femme FataleFemme Fatale A “dangerous woman” who traps or pulls the A “dangerous woman” who traps or pulls the

male protagonist (usually a common, everyday male protagonist (usually a common, everyday Joe) into a world of crime and danger.Joe) into a world of crime and danger.

She is sexy, dangerous, often filled with “mad She is sexy, dangerous, often filled with “mad love,” greed, or jealousy.love,” greed, or jealousy.

Often, one or the other, maybe both, will die.Often, one or the other, maybe both, will die.

The Spider Woman. Why would the The Spider Woman. Why would the femme femme fatalefatale be called this as well? be called this as well?– Ensnares the hero in a web of danger, lies Ensnares the hero in a web of danger, lies

and deathand death

Other Other Symbols:Symbols:

Fog, water, cities, Fog, water, cities, shadowsshadows– All show obscurity or All show obscurity or

the unknown mysterythe unknown mystery

Transportation:Transportation:– Used as a weapon or Used as a weapon or

a place of isolation a place of isolation and escapeand escape

– Cars, trains, planes, Cars, trains, planes, boatsboats

Double Indemnity (1944)

Clothing:Clothing:– Symbol of status, Symbol of status,

power, innocence or power, innocence or guiltguilt

Mirrors and glass:Mirrors and glass:– Sharp and dangerous Sharp and dangerous

yet fragile, like lifeyet fragile, like life– Shows all people are Shows all people are

the samethe same– Something might be Something might be

hidden behind a mirrorhidden behind a mirror

Remember Marion’s clothing in Psycho (1960)?

The Lady from Shanghai (1947)

Postmodern Film NoirPostmodern Film Noir

Even though Even though film noirfilm noir died out, it still died out, it still exists:exists:– Small details have been taken from the Small details have been taken from the

classics (symbols, lighting, characters)classics (symbols, lighting, characters)

– Some feel Some feel film noirfilm noir must be black and must be black and white, others feel that high contrast can white, others feel that high contrast can be achieved through vivid colorsbe achieved through vivid colors

Examples:Examples: Blade RunnerBlade Runner (1982) (1982), The , The Usual SuspectsUsual Suspects (1995) (1995), Glengarry Glen , Glengarry Glen Ross Ross (1992)(1992)

The hero and the femme fatale from Blade Runner (1982)

Two stills from The Usual Suspects (1995)

CasablancaCasablanca (1942)(1942)

Directed by Michael Curtiz Directed by Michael Curtiz – with Humphrey Bogart and with Humphrey Bogart and

Ingrid BergmanIngrid Bergman

Watch for:Watch for:--Film noirFilm noir character character

relationshipsrelationships

-Sense of chance vs. fate-Sense of chance vs. fate

-Hero not wanting to be a -Hero not wanting to be a herohero