Dish of the Day

Just some film musings of a more succinct, spontaneous and sometimes seditious nature:

Wednesday February 22, 2023

“Noir or Not Noir” (Part 1)

In various Film Noir related chat rooms, I’ve been routinely asked whether certain films should be classified as “Film Noir.” Many fans are already aware that expert Eddie Muller has a series of video vignettes on the same subject. Usually, it seems we agree but once in a while we don’t. Either way, film noir aficionados and laypersons alike might enjoy my take on the following films keeping in mind whether or not they are included in the film noir category is in no way indicative of each film’s overall quality.

#Note: There are numerous plot spoilers.

Clash by Night (1949)

Robert Ryan, Marilyn Monroe

This is a tough one. Crime is an essential element. In the U.S. film noir movement, first recognised in the 40s, crime, in some form or another, was the one inherent subject left over from the so called "gangster" films of the previous decades. The question is: does a crime actually have to be committed in order for a film to be classified as noir? I think not. When Jerry starts strangling Earl, the rage behind his aggression is so intense, the outcome could go either way. What's important is that we identify with why Jerry feels the way he does, which is effectively laid out before this culminating action takes place. Thus, Jerry's motive in wanting to murder Earl is the dark criminally related psychological element that distinguishes films noir from their earlier crime film counterparts. So I say Yes, Clash by Night is film noir. 

Vertigo (1958)

James Stewart, Kim Novak

Vertigo does have a horrific crime that takes place but one that we know nothing about until 3/4 of the way through the film. So there is time left to make this murder important enough to the development of the central character's journey to qualify Vertigo as film noir. Here's the thing: Scottie doesn't know what we do. He is still acting (until the end of the story when he sees the necklace) as though no murder has taken place, meaning Judy is uninvolved and innocent. Therefore, in terms of the crime, his subsequent behaviour, thoughts, motive, etc has no relation to the the criminal act he unwittingly witnessed. This makes the crime itself inconsequential until the very end when, after figuring out what we already have learned, he takes Judy to the mission. The murder is made even more irrelevant when he embraces and kisses Judy after all is said and done. Plus, Gavin's crime has not been redressed by way of the rightfully dropped (but filmed) coda. Therefore, crime has nothing to do with Scottie's journey of romantic obsession which is what this film is about. Even his final demonstration of love and forgiveness, if not for the Nun's sudden appearance, signals a hopeful return to the couple’s overriding love for one another. So, my verdict is No, Vertigo is not film noir.

In a Lonely Place (1950)

Humphrey Bogart

The entire film is about Dix and whether, because of his criminal behaviour (shown and discussed repeatedly during his relationship with others), is capable of committing the murder at the forefront of an investigation which is therefore this film's subject matter. We’ve certainly seen that he’s more than capable of committing such an act, what with his extremely volatile temper and explosive violent deeds. So even though Dix is discovered at the end not to be the murderer… Yes, this is film noir. 

Sunset Boulevard (1950)

Gloria Swanson

Our central character is murdered right from the start (à la D.O.A.) and in flashback we find out what strange events led to that shocking occurrence, i.e. what perverse psychological disorder would possess someone, who would otherwise seem unlikely to commit such an act, to resort to such extreme measures… so Yes, film noir. 

Sweet Smell of Success (1957)

(From left) Tony Curtis, Burt Lancaster

Sweet Smell of Success is another contentious “noir or not” film. Certainly a criminal act, in and of itself, is not its story’s priority. J.J. Hunsecker's and, perhaps to a lesser extent, Sidney Falco's repeated willingness to resort to crime, however, by planting evidence, making false arrest, and extortion to get their way, makes the story’s treatment of crime and how importantly it relates to the characters’ involvement… Yes, film noir.

“Noir or Not Noir” Part 2 can be seen here.

All responses are not only welcomed but encouraged in the comments section below.

Hope to see you tomorrow.

A.G.