Film Noir often has an unusual complex narrative where it associates with murder or other crime cases as their theme. The narrative of Film Noir carries the mood of the film that portrays evilness, guilt, fear, moral corruption and isolation. Guilt and fear are shown in the characters during their downfall. What often makes the film interesting are the allegations, suspicion, betrayals. Hence, the tone of film noir is usually dark and pessimistic. The dark and pessimistic themes reflect the social condition felt by the people during that time.
In film noir, characters are unclear because it is verified by the way their bodies are lit and framed: half in the shadows, uneven. Thus, the characters are normally brutal and corrupted, alienated, and ethically ambiguous (Hayward, 2013). The characteristics of the protagonist deviates from the normal Hollywood hero, they are in fact the opposite therefore they are commonly known as the anti-hero.The anti-hero is often associated as a private eye, government agent, gangsters and politicians. For instance, in the movie The Maltese Falcon (Huston, 1941) Sam Spade, the anti-hero, shows characteristics of a low morality person. He is greedy and selfish. We can see these characteristics when he stares at Ms. Wonderly's purse when she takes out the money to pay him. Besides that, he shows no sign of sadness when his partner is killed during the investigation. Instead he asks for Archer's name to be removed from the sign of his new "office".
Next, Film Noir has cinematography that highlights the idea of night-time photography with high-contrast lighting, occasional low-key lighting, with lots of shadows, just like how they employed these characteristics in German Expressionist film. The settings in Film Noir are mostly in cities (Sfetcu, 2014). Dark streets (usually damp and appear cold) and interiors where both are dimly lit with firmly framed shots always as well as extreme camera angles to show that the city is filled with danger and corruption, the shadowy dark streets revealing the unclear ethical and intellectual principles in addition to the complexity in distinguish the reality (Hayward, 2012, p. 150). The key concept of German Expressionist films is to distort reality. However in Film Noir, the lightings and oblique angles are employed to show the distorted morality of people, how corrupted and dark they can really be as well as the rest of the world.
In film noir, characters are unclear because it is verified by the way their bodies are lit and framed: half in the shadows, uneven. Thus, the characters are normally brutal and corrupted, alienated, and ethically ambiguous (Hayward, 2013). The characteristics of the protagonist deviates from the normal Hollywood hero, they are in fact the opposite therefore they are commonly known as the anti-hero.The anti-hero is often associated as a private eye, government agent, gangsters and politicians. For instance, in the movie The Maltese Falcon (Huston, 1941) Sam Spade, the anti-hero, shows characteristics of a low morality person. He is greedy and selfish. We can see these characteristics when he stares at Ms. Wonderly's purse when she takes out the money to pay him. Besides that, he shows no sign of sadness when his partner is killed during the investigation. Instead he asks for Archer's name to be removed from the sign of his new "office".
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| The Maltese Falcon (1941) by John Huston. Sam Spade,the anti hero, a Private Investigator with ambiguous morality. |
Next, Film Noir has cinematography that highlights the idea of night-time photography with high-contrast lighting, occasional low-key lighting, with lots of shadows, just like how they employed these characteristics in German Expressionist film. The settings in Film Noir are mostly in cities (Sfetcu, 2014). Dark streets (usually damp and appear cold) and interiors where both are dimly lit with firmly framed shots always as well as extreme camera angles to show that the city is filled with danger and corruption, the shadowy dark streets revealing the unclear ethical and intellectual principles in addition to the complexity in distinguish the reality (Hayward, 2012, p. 150). The key concept of German Expressionist films is to distort reality. However in Film Noir, the lightings and oblique angles are employed to show the distorted morality of people, how corrupted and dark they can really be as well as the rest of the world.
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| The Big Combo (1955) by Joseph H. Lewis. |
Stylistic Night photography of film noir.
Lines from German Expressionist characteristics can be seen in Film Noir as well. However, the lines appear more subtle as compared to German Expressionist films. They employed lines in the settings, and clothing such as narrow alleyways with lines on the walls, window blinds and suits with printed lines. This is to show the tension, instability and confusion felt by the characters (Telotte, 1989, p.17).
The title "Femme fatale" is used to name the women with motives in film noir. They are mysterious, ambiguous and seductive; they charm their enthusiast and eventually lead them into fatal situation. Thus, it gives a very crucial role to the femme fatale and makes them appear as authoritative, manipulating, seductive, smart, energetic, dominant and in control of her own sexuality (Hayward, 2013). Besides that, the women in Film Noir are only interested in their own agenda. They are often driven by greed, jealousy and lust (Hayward, 2013).
The representation of women in Film Noir is different from the classical Hollywood cinema. In classical Hollywood cinema, the representation of women is usually passive and weak (Hayward, 2013). The different representation of women Film Noir is a reflection of the women's empowerment in the social sphere during WWII. It questions the women's ability to be independent which has inspired some feminist thoughts in the society. However, it last until the ending where the femme fatale has to pay for what she has done through death or surrender themselves to the men (Hayward, 2013). This is to show the consequences face by the women if they ever try to challenge the patriarchy society or the men's world.
At first, the women usually are the object to the anti hero’s investigation as they are crucial in the plot. However, it is not the women’s role in the plot that is under investigation, it focuses more on the women’s sexuality that disrupts the male pursuit for resolution (Hayward, 2013). It shows sexual identity and the division of power between men and women. Their roles are now reversed as women exert their power over the men. Due to the insecurities and lack of confidences of the men, they allow women to triumph over them (Hayward, 2013). These characteristics are the reflection of the women's empowerment and men's anxiety over the women's new place in the social sphere. As anti-heroes often involve themselves in uncertain situations, it becomes easier for the femme fatale to come in the picture to manipulate their goals. In the movie The Maltese Falcon (Huston, 1941), the femme fatale, Brigid O'Shaughnessy at first poses as a woman called Ruth Wonderly who seeks, the Private Investigator, Sam Spades' help. Later, she reveals her true identity to Sam after Archer's death. He then lets her to be apart of his investigation to look for her partner, Thursby. Later, he falls for her charming personality during the investigations. Things change when her real intentions falls into place, which is to get her hands on the Maltese Falcon. This shows how Sam's investigation is interrupted by Brigid's own hidden agendas.
In addition, these women always have properties like guns and cigarette holders with them just like the men in order to achieve what they want as they symbolize an unusual phallic power. Furthermore, women make their ways to be indulged in male spaces too as they always appear in the bars, casino. In the movie Memento (Nolan, 2000), Natalie mingles with the men in the bar where she works as a bartender.
As for costume and makeup, women might dress themselves like men with their customized suits with broad shoulder-pads; or they might appear in exaggerated stereotypical masks of women. For instance, wearing sexy, clinging sequined evening gowns and fur coats to seduce the men so that they fall into their planned traps. For instance, in the film Double Indemnity (Wilder, 1944) Phyllis Dietrichson is wrapped in a towel when she first meet Walter, which has an effect on his attraction to her. Men are also attracted by the femme fatale's feminine charm. In the film, The Maltese Falcon (Huston, 1941) Sam Spade asks Brigid to drop her innocent school girl act when he figures out her motives.
Phyllis Dietrichson wrapped in a towel.
Additionally, there is another type of female representation in Film Noir. This representation resembles the women in films during the Classical Hollywood Cinema. They are very honest and trustworthy as opposed to the femme fatale. This representation of the "good women" in Film Noir is to reinforce the idea that, women should be stay where they're supposed to be, that is inferior to the men. According to Place as cited by Hanson, Film Noir is a male fantasy, thus the definition of women is determined by her sexuality; either a sex kitten or a virgin (Hanson, 2007). The presence of the "good women" is also to highlight the dynamics of the femme fatale in film noir. In the movie The Maltese Falcon (Huston, 1941), Errie Perrine, the secretary of Sam Spade, is innocent, naive obviously inferior to Sam Spade. She plays a small role in his investigations and also lights his cigarettes.
Lines from German Expressionist characteristics can be seen in Film Noir as well. However, the lines appear more subtle as compared to German Expressionist films. They employed lines in the settings, and clothing such as narrow alleyways with lines on the walls, window blinds and suits with printed lines. This is to show the tension, instability and confusion felt by the characters (Telotte, 1989, p.17).
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| The Cabinet of Dr. Caligari (1920) By Robert Wiene. Usage of exaggerated lines in German Expressionist Films. |
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| The Maltese Falcon (1941) by John Huston. The usage of subtle lines in Film Noir. |
The title "Femme fatale" is used to name the women with motives in film noir. They are mysterious, ambiguous and seductive; they charm their enthusiast and eventually lead them into fatal situation. Thus, it gives a very crucial role to the femme fatale and makes them appear as authoritative, manipulating, seductive, smart, energetic, dominant and in control of her own sexuality (Hayward, 2013). Besides that, the women in Film Noir are only interested in their own agenda. They are often driven by greed, jealousy and lust (Hayward, 2013).
The representation of women in Film Noir is different from the classical Hollywood cinema. In classical Hollywood cinema, the representation of women is usually passive and weak (Hayward, 2013). The different representation of women Film Noir is a reflection of the women's empowerment in the social sphere during WWII. It questions the women's ability to be independent which has inspired some feminist thoughts in the society. However, it last until the ending where the femme fatale has to pay for what she has done through death or surrender themselves to the men (Hayward, 2013). This is to show the consequences face by the women if they ever try to challenge the patriarchy society or the men's world.
At first, the women usually are the object to the anti hero’s investigation as they are crucial in the plot. However, it is not the women’s role in the plot that is under investigation, it focuses more on the women’s sexuality that disrupts the male pursuit for resolution (Hayward, 2013). It shows sexual identity and the division of power between men and women. Their roles are now reversed as women exert their power over the men. Due to the insecurities and lack of confidences of the men, they allow women to triumph over them (Hayward, 2013). These characteristics are the reflection of the women's empowerment and men's anxiety over the women's new place in the social sphere. As anti-heroes often involve themselves in uncertain situations, it becomes easier for the femme fatale to come in the picture to manipulate their goals. In the movie The Maltese Falcon (Huston, 1941), the femme fatale, Brigid O'Shaughnessy at first poses as a woman called Ruth Wonderly who seeks, the Private Investigator, Sam Spades' help. Later, she reveals her true identity to Sam after Archer's death. He then lets her to be apart of his investigation to look for her partner, Thursby. Later, he falls for her charming personality during the investigations. Things change when her real intentions falls into place, which is to get her hands on the Maltese Falcon. This shows how Sam's investigation is interrupted by Brigid's own hidden agendas.
In addition, these women always have properties like guns and cigarette holders with them just like the men in order to achieve what they want as they symbolize an unusual phallic power. Furthermore, women make their ways to be indulged in male spaces too as they always appear in the bars, casino. In the movie Memento (Nolan, 2000), Natalie mingles with the men in the bar where she works as a bartender.
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| Memento(2000) by Christopher Nolan. Natalie works as a bartender. |
As for costume and makeup, women might dress themselves like men with their customized suits with broad shoulder-pads; or they might appear in exaggerated stereotypical masks of women. For instance, wearing sexy, clinging sequined evening gowns and fur coats to seduce the men so that they fall into their planned traps. For instance, in the film Double Indemnity (Wilder, 1944) Phyllis Dietrichson is wrapped in a towel when she first meet Walter, which has an effect on his attraction to her. Men are also attracted by the femme fatale's feminine charm. In the film, The Maltese Falcon (Huston, 1941) Sam Spade asks Brigid to drop her innocent school girl act when he figures out her motives.
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| Double Indemnity (1944) by Billy Wilder. |
Phyllis Dietrichson wrapped in a towel.
Additionally, there is another type of female representation in Film Noir. This representation resembles the women in films during the Classical Hollywood Cinema. They are very honest and trustworthy as opposed to the femme fatale. This representation of the "good women" in Film Noir is to reinforce the idea that, women should be stay where they're supposed to be, that is inferior to the men. According to Place as cited by Hanson, Film Noir is a male fantasy, thus the definition of women is determined by her sexuality; either a sex kitten or a virgin (Hanson, 2007). The presence of the "good women" is also to highlight the dynamics of the femme fatale in film noir. In the movie The Maltese Falcon (Huston, 1941), Errie Perrine, the secretary of Sam Spade, is innocent, naive obviously inferior to Sam Spade. She plays a small role in his investigations and also lights his cigarettes.
Film noir often uses non-linear editing and flashback to disrupt the typical narrative structure. This helps to disclose more information about the character’s past and brings suspense to the story. (Turim, 1991). The audience will not expect the plot twists ahead with the help of flashbacks. The use of voice-over and narration is also used in film noir. The usage of voice over is to allow the audience to listen to the character’s internal thought that is shown on screen. (Kuhn & Westwell, 2012). It helps to give the audiences a clearer background on the characters.
Two noir films with an interesting narrative:
Sunset Boulevard is a Film Noir with an unconventional narrative. The film starts with the narration of Joe Gillis, who is killed in the pool. He tells the story right up to his dead impending dead.
Here's the trailer:
Memento is a neo noir film. The narrative structure of this film is designed to be told in the flashback manner or non chronological manner with the help of narrations by Leonard Shelby.
Here's the Trailer:
Two noir films with an interesting narrative:
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| Sunset Boulevard (1950) by Billy Wilder. |
Sunset Boulevard is a Film Noir with an unconventional narrative. The film starts with the narration of Joe Gillis, who is killed in the pool. He tells the story right up to his dead impending dead.
Here's the trailer:
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| Memento (2000), by Christopher Nolan. |
Memento is a neo noir film. The narrative structure of this film is designed to be told in the flashback manner or non chronological manner with the help of narrations by Leonard Shelby.
Here's the Trailer:
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