Film Noir

Paper Summary:

This paper examines the genre of 'film noir', the name given to the trend of the dark and black, looks and themes of many of the American crime and detective films released following the World War II. It discusses the influences on these films such as World War II and postwar disillusionment, postwar realism, the work of German expatriates making use of German Expressionism and even the hard-boiled literary tradition of the 1930s and 1940s. It shows as an example how Orson Welles used the style in his late-1950s film "Touch of Evil", a film that develops a film noir style and structure in the context of tense international relations and an era of police abuse. It discusses how Orson Welles shapes what could have been a standard crime story in a new way by the creative use of the camera and by strong characterizations.

From the Paper:

"For the film noir aspect of the film, the underlying attitudes of the character are as important as lighting and camera work. Sheriff Quinlan is a huge mass of bloated flesh and exudes evil from his first appearance in the film, standing as a cop who will do anything not to be wrong. He is contrasted sharply with the tall and stalwart look of Ramon Vargas, the policeman from South of the border who must not be allowed to show up the great Quinlan. Quinlan has the look of a man who was once great and who has fallen, though he sustains his position through force of will, reputation, bullying, and the sycophancy of Sgt. Menzies, who follows Quinlan around singing his praises to all who will listen."

More papers on Film Noir:

• Essay # 89430 : "Casablanca as Film Noir"
• Film Review # 121279 : "Film Noir in "Double Indemnity"
• Essay # 73405 : "Film Noir"
• Research Paper # 61789 : "Women in Film Noir"

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