Film Noir: A Genera of a Generation

Paper by Lauren Takayesu.

Film noir transcends beyond definition and beyond genera, beyond characteristics and beyond themes, for film noir captures an essence. As World War II came to a close a new America emerged, bringing about a change of society and culture. Being hardened from the war, progressed into a new era, a sense of harsh realism and uncertainty which silently plagued the years following the war. A post-war transformation which was expressed and captured through the style of film noir. This paper will examine the genera of film noir, its characteristics, central themes and significance as it relates and is a reflection of society, focusing upon the influences of post war America along with film analysis of The Maltese Falcon and The Big Combo.

Originating from the influences of French and German expressionism and American crime and gangster films of the 1930’s, film noir was a means of, “fusing expressionism with hard-hitting realism” (Biesen 15), into a genera of its own. The genera itself is hard to distinctly define and categorize as it is typically a culmination of characteristics which distinguish a film as film noir. The term “noir” came from the French film critic, Nino Frank, and translates as “black” or “dark” (Dirks) but was often referred to as a type of melodrama or “psychological” in pop culture. No matter the official titling of this genera the significance of its distinctness and individuality was obvious. The true era of film noir is used to contain strictly the postwar era of American film and history. Paul Schrader ascribes film noir as a postwar phenomenon, stating that, “America’s entry into World War II interrupted the development of film noir that had begun with the definitive, Maltese Falcon (1941), but was then stalled by the conflict, that upbeat wartime censorship regulation preempted the trend, and that film noir was essentially a postwar movement growing out of a ‘delayed reaction to the thirties’” (Biesen 9).

The most recognizable and common characteristic of film noir, as described in its translation, is the darkness, a darkness not only visually but in plot and theme. The most recognizable and basic characteristics which make up film noir are the aesthetic qualities. Film noir is a highly visual genera, in which often the lighting and chosen camera angle provide more meaning and expression than the dialogue of the scene. These visualization techniques revolve around lighting and camera shot. Set in black and white, the emphasis was upon a darker, shadowy lighting. The use of low-key lighting, a technique which uses a single lighting source and fog/smoke machines highlights this gloomy atmosphere. Film noir movies were of the first to use night for night shooting, in which scenes were actually filmed at night to add further darkness and setting compared to prior filming techniques in which night scenes were still shot during the day (Maestu). The setting of film noir typically took place in urban areas, using the city as a representation of corruption and a dim tone. Scenes often being simply constructed with minimal pieces to shots, basic backdrops and few individuals per shot. Another noir technique is the use of wide angle lenses and close ups, both which add dramatics and tone. Financial recessions caused by the war contributed to the visual effects of film noir. Technology such as lighting, props and camera equipment as well as other resources were limited which only furthered the simplistic nature of the genera.

Though the visual components of film noir are an important part of encapsulating and defining the genera it is the themes, narrative and plot which complete and make up what is the essence of film noir. Like in the visual aspects, the dark and ominous take the prominent presence in the themes of film noir. Disillusionment, powerlessness, corruption, and moral questioning are often placed upon the characters, either looming in their decisions or surrounding them in their lives. There is a hopeless aspect to noirs an almost personal tragedy and inner conflict that the characters struggle with. A turmoil both externally and internally as they face a cold and almost ruthless world in which the characters define themselves. It is these darker sides of human character that are popular amongst film noirs. Film noir is also heavily rooted in the influence of hard boiled pulp fiction. The term “hard-boiled” referrers to a literature style revolving around crime, sex and violence (Dickos 62). Being more complex and developed than gangster films of the 1930’s, film noir revolved greatly around this deeper theme of crime. Another prominent theme is the influence of gender roles. Film noir exposed the sexual, female fatale character for women. Female fatale is the role of promiscuous women, using their seduction and sexuality as a means of power over men often resulting in deadly or dangerous outcomes. The men of film noir demonstrated a masculinity and bravado of both physical and emotional toughness. Often showing little emotion, with a hardened approach to people. Another theme is the moral conflict of good and bad, and the struggle of the characters to find who they are or who they wish to be within that moral spectrum. Often the pressures of a sin and corruption filled environment have its effect and influence on the characters individually. Within this moral conflict emerges the roles of both the heroes and villains. However in film noir the definition of such heroes and villains are not so simply defined nor as pure in comparison to other film genera’s. Due to noirs emphasis upon human flaws of character, even the heroes have their flaws and moments of corruption. Male heroes are not conventional knight in shinnying armors, but pessimistic, worn and less handsome in their persona. Ultimately the characters of film noir are plagued by a sense of entrapment, confusion and uncontrollable fate rich dominates their surroundings (Maestu). These themes and roles of film noir were beyond the movie screen, and transcended not only from but into a society of change, as both the film industry and America were being influenced by external factors and driven by internal emotions.

In 1945 the Second World War had come to a close. America now faced a new period of rebuilding and return to economic strength. Despite the optimism promoted by President Truman, the government, and the end of war, the American public was still hesitant from experiences past along with the looming future. Being a generation of the great depression, war time sacrifice along with the witnessing the brutality and devastation of war; this all led into a pessimism and doubtful outlook upon the future. With a future of rising tension between Russia in the Cold War, a changing make up in the family setting of American households and the challenging of democracy. I contribute these driving factors as the means in which film noir became popularized and shaped as a genera. “It is this tremulousness of American urban life, rooted in historical consequence, that reverberates in the look and the vitality of the noir city and its residents. The criminality and passions driving many noir characters stem from the premise that the insecurity of existence here promises little in rectitude, and so pursuing one’s obsessions becomes acceptable, even desirable, in the face of an unclear future” (Dickos 63). From this statement Dickos is referring to the fictional and fantasy like world of film noir. That despite its fictional setting in comparison to actual city environments of the time, the ideology, the essence, of what these imaginary film noir cities are representative of are the emotions and beliefs of the time.

As a microcosm of greater social issues, the film industry had to deal with its own internal influences and struggles as well. The film industry struggled during the post-war era as popularity in movies declined in comparison to war time numbers, the growing trend of relocation and development into suburbs, limitations and regulations of production code, governmental changes within the business structure, and the negative impact from the Hollywood Blacklist scandal (Lewis 193-194). During this time period, the Motion Picture Association of America (MPAA) still held regulations over the film industry. The limitations from the PCA in content directly affected the film of film noir due to the heavy sensuality as well as violence of the genera. Such regulations are evident in that most of the direct violence is not shown. Often done by cutting to another scene or different shot, yet leaving the sound of gun shots or showing the afterward effects of the violence, such as a lifeless body, but not the actual violence itself. Same with the sexual content of the film, the theme of the female fatale is a prominent one in film noir yet is only heavily implied through behavior and dialogue. However the restrictions imposed by the MPAA were strongly opposed by directors and often challenged or ignored. As a result of the Hollywood Antitrust Case of 1948, which disbanded the movie studios control over theater chains on basis of being a monopolized organization, the MPAA lost a lot of its power in being able to regulate the content of films shown (Lewis 195).

The influence and impact created by the Hollywood Blacklist in the fall of 1947 is a direct example of the post war zeitgeist which lingered in the hearts and minds of Americans, a theme of fear, alienation and uncertainty. All of which can be directly correlated as a reflection of film noir as it relates to the post war society. The Hollywood Blacklist was established by the House Committee on Un-American Activities (HUAC) as a measure to investigate, expose and disestablish members within the Screen Actors Guild on involvement with the Communist party. This exemplified the betrayal and mistrust of America in the building and influence of the Cold War. The Hollywood blacklist not only reflected the changing society but held a special relationship with film noir in its political affiliation. Not only were many accredited directors and producers of film noir on the Blacklist, the film noir genera was favored by the political left. Viewed the theme of film noir, hard-boiled crime to portray a tainted perspective upon capitalism, associating the corruption of crime, money and politics to a capitalistic and americanized system. “The pairing of a left-wing political sensibility and noir seems only logical when we consider the crime film’s inherent class conscious drama…for those who were left of center politically in post war America, noir crime films evinced the desperation of the underclass and were based on the notion that criminality on screen says less about the individual criminal than it says about the circumstances that led to his sorry fate” (Lewis 207-208). This association of real life emotions and themes to that which was being portrayed on screen through film noirs demonstrated a synonymous reflection of society as a whole.

A film which has been credited as being the first of American film noir is The Maltese Falcon. Released in 1941 by Warner Bros Inc. starring Humphrey Bogart, Peter Lorre and Mary Astor. The Maltese Falcon tells the story of Bogart’s character, Sam Spade, a detective caught up a murder, betrayal and scandal filled case over the connections to a prized falcon statue. Initially Sam Spade and his partner Miles Archer are asked by the attractive Brigid O’Shaughnessy (Mary Astor) to pursue a man. The false claim results in the death of Spades partner and the revealing of a much deeper criminal network. The film then continues to revolve around a web of characters filled with deception, faulty motives and cold emotions. Leaving no one to be trusted or certain, even Sam Spade. The Maltese Falcon is the natural development and transition of film noir, moving from the 1930’s American gangster films to the more hard-boil style of crime. Taken from the novels of Dashielle Hammett The Maltese Falcon laid the framework of the film noir classification, both visually and in content (Biesen 42). Humphrey Bogart as Sam Spade is the iconoclast to the traditional Hollywood hero, establishing the new masculinity of film noir. Brigid O’Shaughnessy fulfills the female fatale as she attempts to use, manipulate and seduce Sam Spade into the deception of pursing a false lead. Due to constraints of early PCA regulations, it resulted in the decade long development of the film for final release (Biesen 43). One characteristic which makes The Maltese Falcon interesting is in its lack of violence in comparison to the latter film noirs. This is heavily due to the constraints from the PCA during war, as a means to regulate content which promoted “un-American”, unpatriotic or unethical behavior (Biesen 43). However, I also contribute the lack of violence to a less hardened society from the war. Despite the strongly film noir aspects these characteristics are slightly softened in this early film. Much more of the film is left implied, such as the sexual relations of Sam Spade. The overall intensity of The Maltese Falcon seemed more constrained and muted than the hard boiled crime film noirs of the 1950’s.

The Big Combo of 1955 showed what I believe to be the matured form of film noir. Released more than a decade after The Maltese Falcon, the changes of society are evident in the progression of this hard-boiled detective plot, being more violent, more seductive, and more emotionally driven. Starring Cornel Wilde as Lieutenant Diamond and Richard Conte as the criminal boss Mr. Brown. Lt. Diamond attempts to take down the dangerous and powerful Mr. Brown for his criminal activities. The protagonist, Lt. Diamond, shows similar characteristics to that of Humphrey Bogart as Sam Spade, however in The Big Combo it further demonstrates the flawed nature of even the film noir hero. Lt. Diamond shows his weakness in the form of promiscuity with women along with being more aggressive and short tempered than Spade in The Maltese Falcon. Diamond is trapped as he fails to successfully catch Mr. Brown, and despite his efforts can not quite come out ahead. What also makes Lt. Diamond the quintessential film noir hero is despite his surroundings of corruption, crime and temptation, he stays true to his morals and remains good, despite his flaws. The level of violence and aggression were far higher and demonstrated than in the earlier Maltese Falcon, as seen in the scenes involving Mr. Brown’s interrogation of Lt. Diamond, and the high number of murders throughout the film. Both films involve the characters fear, lack of trust and entrapment, yet in the The Big Combo there is a level of maliciousness which is not seen in The Maltese Falcon.

Early within The Big Combo is a specific scene in which Mr. Brown is talking to his prized boxer after a lost fight. Shot in low key lighting, having only three characters to the scene, with the worn boxer as a close up in the foreground with Mr. Brown standing in the background. It is within this monologue, this scene, is what I believe captures the essence of the emotion of the 1950’s. The entrapment, uncertainty and reflection of a changed and hardened society which lingered during this post war period. Mr. Brown, speaking in a smug tone and swagger, initially credits the boxer for his continuing the fight, saying in doing so that “he had heart”. But then beings to discus to the difference in success , explaining what it is that separates those who “have” from those who “have not”. Comparing himself to that of his accomplice Joe McClure (played by Brian Donlevy), a man who once was in position to take over the organization, yet is now a timid, subservient of Brown; showing how despite their similarities in material objects they are far from being of the same caliber or character. Brown then says, “First is first and second is nobody” (The Big Combo) . A strong change of ideals in comparison to earlier times, a demonstration of a capitalist driven society, along with the alienation and entrapment also reflected through film noir. Mr. Brown further leads and questions the boxer into what it is that distinguishes the successful from the failures, “What is it Benny? What makes the difference? Hate. Hate is the word Benny. Hate the man that tries to beat you. Kill him Benny kill him” (The Big Combo). In this scene the coldness of the world is apparent. The isolation of the individual, the cruelty and reality of this new society, no longer giving value to effort, but only to success, only to being on top. This scene is what I believe film noir attempted to transcend as a reflection of current society. A realism that the world, America and the culture were in change as a result of post war repercussions.

During this post war period from 1945 into the late 1950’s, America, as well as the world could not help but be effected by the war and the changes which the war brought about. The pains of the past and the uncertainty which tainted the future resulted in the emotions of fear, isolation and entrapment. Such emotions and external influences are evident through the creation of the genera film noir. A genera which modernizes and fictionalizes a reality of such society. Film noirs impact was beyond film in that it encompassed a time period and fueled a part of history; capturing a generation, an emotion and a mindset.

Works Cited:

Biesen, Sheri Chinen. Blackout: World War II and the Origins of Film Noir. Baltimore: John Hopkins University Press. 2005.
The Big Combo. Screenplay Philip Yordan. Dir Joseph H. Lewis. Perf Cornel Wilde, Richard Conte, Biran Donlevy, Jean Wallace. Allied Artist. 1955.

Dickos, Andrew. Street with No Name: A History of The Classic American Film Noir. Lexington: The University Press of Kentucky. 2002.
Dirks, Tim. “Film Noir”. Filmsite. American Movie Classics Company. 2010. 25 March 2010.
Lewis, Jon. American Film: A History. New York: W.W. Norton & Company, Inc. 2008.

Maestu, Nico. Professing Film Studies. Course home page. Spring 2010. Film Studies Program, Santa Barbara City College. 11 April 2010.

The Maltese Falcon. Written Dashiell Hammett. Screenplay John Huston. Dir John Huston. Perf Humphrey Bogart, Mary Astor, Peter Lorre. Warner Bros Inc. 1941.