Charles Higham and Joel Greenberg Noir Cinema 1968 And Billy Wilders Double Indemnity 1944 Noir ambience a dark street in the early morning hour a dark street washed with a sudden downpour haloes on lamps a neon sign across the street a man waiting to murder or be ID: 270675
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Slide1
Film Noir
Charles Higham and Joel Greenberg‘Noir Cinema’ (1968)
And Billy Wilder’s
Double Indemnity
(1944)Slide2
Noir
ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murderedDarkness and ViolenceSlide3Slide4
Noir
ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murderedDarkness and ViolenceSlide5Slide6
Noir
ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murderedDarkness and ViolenceSlide7Slide8
Noir
ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murderedDarkness and ViolenceSlide9Slide10
Noir
ambience: a dark street in the early morning hour; a dark street washed with a sudden downpour; haloes on lamps; a neon sign across the street; a man waiting to murder or be murderedDarkness and ViolenceSlide11Slide12
Protagonists’ motives – greed, lust and ambition
Their emotion – fear and anxietySlide13
The roots of
film noir in German and French Romantic films in the 1930s.Slide14Slide15
Julien
Duvivier’s Pépé le
Moko
(1937) Slide16
Fritz Lang (1890-1976)
Austrian
Robert
Siodmak
(1900-1973)
German
Otto Preminger
(1905-1986)
Austrian
Billy Wilder (1906-2002)
German
Slide17
More
Noir visions: train and station in Richard Curtiz’s
The Unsuspected
Slide18
Elevator for danger and security:
Delmer Daves’s
Dark Passage
(1947)Slide19
Bars, large mirrors
, piles of glasses, lamps, interrogation room, underpass, fog, mist, a man with raincoat whose color turned up and a hat pulled down, a woman in fur coast with a gun in its pocket.SOUNDTRACK: the minatory scores of Franz Waxman, Max Steiner, Miklós Rósa and Erich Wolfgang Korngold.
SOUND EFFECT: scream; sob, cold hard voices, cry, the rapping of high heels, the shuffle of man’s feet; Slide20
Noir
photography: Shadows, silhouette, and low-key lighting Slide21Slide22Slide23Slide24Slide25Slide26
Hitchcock’s films in the 40s: are they
noir films?Alida
Valli
in
The
Paradine
Case
as a femme fatale?
Prison scenes are pure
film noir
?Slide27
Robert
Siodmak, another maker of noir Phantom Lady
(1944) New York heat in the summer evokes the sense of corruption and decaySlide28
Analyses of other
Siodmak’s film noirChristmas Holiday (1944), The Suspect (1945), Conflict
(1945),
The Strange Affair of Uncle Harry
(1945)
The Killers
(1946) and
Criss
Cross
(1949) were ‘less successful’. Were they? They are now generally considered as his best.
Imdb
ratings:
The Killers
7.9/10
Criss
Cross
7.6/10 Slide29
Fritz Lang’s
film noirWoman in the Window (1944) and Scarlet Street (1945)Otto Preminger’s
film noir
Laura
(1944)
and
Fallen Angel
(1945)
Michael
Curtiz’s
film noir
Mildred Pierce
(1945) and
The unsuspected
(1947) Is
Mildred Pierce
a film noir or
Curtiz
its maker? ‘… it lacks one of the most essential ingredients: a hard-boiled anti-hero, unless one counts Veda (Ann Blyth).’
Joan Crawford: the Essential Biography
Slide30
Analyses of Lewis Milestone’s
film noirThe Strange Love of Martha Ivers (1946) , The Damned Don’t Cry (1949-50)
Analyses of Edmund
Goulding’s
film noir
Nightmare Alley
(1947) ‘…
an archetypal American's rise and fall is neither a great movie nor even a classic
noir
’
The Village VoiceSlide31
Billy Wilder
Double Indemnity (1944) ‘… one of the highest summits of film noir
, is a film without a single trace of pity and love.’Slide32
Tay
Garnett’s Postman Always Rings Twice (1946): another great
film noir
but it was shot in full Californian sunlight and a high-key lighting.
Day rather than night, light rather than shadow Slide33
Orson Welles’s
The Lady from Shanghai (1948) features the most deadly femme fatale
played by Rita Heyworth, a sex symbol of the 1940s.