Nocturnal Animals (2016)
Dir. Tom Ford
A writer, Edward Sheffield (Jake Gyllenhaal), sends his
former wife, art curator Susan Morrow (Amy Adams), a manuscript of his new
novel entitled Nocturnal Animals. The
novel’s plot is an integral part of the film and it makes a profound effect on
Susan making this film an example of psychological revenge through literary art.
***Warning! Spoilers abound!***
I’ve read reviews of this film; most are very positive.
However, among the negative, I get a sense that these reviewers are unfamiliar
with the noir/neo-noir genre. I truly believe one needs to be well attuned to
the characteristics of film noir to understand its storytelling techniques and the
ambiguity that it entails (most negating critics were disappointed by the
ending, which, to me, made sense).
Nocturnal Animals
has three different narratives. There are the two stories (past and present) in
the real world and one in the fictional world. As Susan reads her ex-husband’s
novel, we are taken into that fictional world. These two worlds seem to
parallel each other making the novel an allegory for their failed marriage.
I was very impressed with Gyllenhaal’s performance and
Michael Shannon’s portrayal of a disenchanted sheriff deputy was magnificent. I
was most intrigued by the fictional world in its cinematography and the acting.
Not counting the non-applicable item #10, the film meets 15/15 of the characteristics; thus making this film a true neo-noir.
Characteristics borrowed from film noir to
define neo-noir and modern neo-noir:
1. Chiaroscuro for
black and white films, intense or muted color in movies filmed in color.
Yes. There are many scenes where we see a pale Susan often
surrounded in darkness. There is also stark black/white contrast with minimal
pops of color.
2. Flashbacks
Yes. Susan reflects on her failed marriage to Edward.
3. Unusual narration
Definitely. We have parallel plots of the real world and
the fictional world (as written in Sheffield’s novel).
4. Crime/planning a
crime
Yes. Within the fictional world, Tony Hastings (also played
by Gyllenhaal) pursues a trio of criminals responsible for his wife and
daughter’s rape and murder. He colludes with local deputy sheriff Bobby Andes (brilliantly
portrayed by Michael Shannon) to enact Texas justice on the trio.
5. Femme fatale
and/or homme fatale
Yes. I see Susan as a femme fatale on two levels. One: her
betrayal of her former husband and the pain she caused him. Two: the choices
she’s made have also harmed her.
6. The instrument of
fate
Yes; the novel. I would say the novel has impacted Susan
greatly forcing her to evaluate her life and accept responsibility for her
actions.
7. Angst (for
example, guilt, fear, self-doubt, confusion, and so on; in other words,
anything that contributes to angst).
Yes for several characters.
In the real world, Susan is often consumed with guilt and
self-doubt. Edward is consumed with emotional pain and penning his novel has
been quite cathartic for him.
In the fictional world, Tony is wrought with guilt over the
brutal slaying of his family. He sees himself as a failed protector. Dep. Bobby
Andes is filled with angst against his department and failed justice.
8. Violence or the
threat of violence
Yes. In the fictional world, a trio of outlaws terrorizes
the Hastings family before they rape and murder the wife and daughter. Dep.
Andes and Tony embark on revenge of the trio with plans to take matters into
their own hands.
9. Urban and
nighttime settings
Yes. In the real world, the present day setting is Los
Angeles with lots of nighttime shots. The flashbacks are set in New York and
exclusively nighttime.
In the fictional world, the setting is West Texas. It
begins with a night setting with the requisite shots of the lonely highway.
However, the rest of the story has a “soleil noir” effect. The scenes are
reminiscent of Bad Day at Black Rock.
10. Allusion to
post–World War II (or any postwar) themes (optional)
n/a
11. Philosophical
themes (existentialism in particular) involving alienation, loneliness
Yes. In the real world, Susan is consumed with guilt in a
loveless second marriage. The feeling of loneliness is highlighted by her solo
onscreen shots in darkness or in expansive settings making her a miniscule
person.
During her flashback scenes, Susan is obsessed with status
but falls for a “romantic” man (in the literary sense) and she is conflicted.
She also comes to the realization that she is much like her mother, whom she
tries to avoid becoming.
In the fictional world, Tony is emotionally fragile and
laments his failure as the protective husband and father. His duty to his
family is now to bring their murderers to justice.
12. Psychology
(hypnosis, brainwashing, manipulation, amnesia)
Yes; it is the basis of this film. The point of the novel
is an act of psychological revenge against the former spouse. This fact is
highlighted in the film’s closing scene.
13. Greed
Yes. Susan is consumed with having high status as
highlighted by her career choice and the decision to leave her first husband.
14. Betrayal
Yes. Susan betrayed her first husband twice. The first act
was her extra-marital affair. The second act I will withhold as I feel it
confirms the novel as an allegory for Susan and Edward’s marriage.
15. No stark contrast
between “good” and “evil” (characters, forces, emotion, and so on)
Maybe. It is pretty clear who the “good” and “evil”
characters are. However, a viewer could question Dep. Andes’s character. He
does make choices that would be considered illegal under the rule of due
process.
16. Expertise
triumphs, perhaps rather than “good”
Yes. In the real world, I feel that Edward is triumphant
with his novel’s publication; although the impact on Susan may be more
bittersweet.
In the fictional world, Dep. Andes’s expertise and
influence on Tony can be considered triumphant but it comes with consequences.
