Following the TCM Summer of Darkness festival, I learned about a new (to me) noir fest I Wake Up Dreaming (perhaps a play on the noir title I Wake Up Screaming). Apparently this has been an annual festival since 1991; far longer than the better known Noir City. How the two festivals differ is the selected titles. I Wake Up Dreamingshowcases a repertoire of obscure titles where as Noir City presents a selection of A list or a B+ list of films; particularly those that have gone through the restoration process. I Wake Up Dreaming is without all the pomp and circumstance of most film festivals. There are no vendors, no special introductions, no evening galas. Just good films. This year, the festival will run for 5 consecutive Thursdays. Night one was a packed house! Surprising considering it's a Thursday night. On the bill for the evening...
Ride the Pink Horse directed by and starring Robert Montgomery. It's the story of a disillusioned G.I. looking to seek retribution for his friend Shorty's death. Set in a small New Mexico town, the location provides a less conventional noir setting, yet it works for the "out of place" feeling so evident in many films noir; unfamiliarity, claustrophobic crowds, strange faces.
So Dark the Night was cast with unknown actors. At only 71 minutes, this had to be one of those B films that opened for the headliner. It follows the noir aspects in that we have another displaced individual who finds himself in unusual circumstances. A Parisian detective on a long overdue holiday falls in love with the innkeeper's daughter, who later turns up dead. The plot was somewhat predictable and I was not the least bit surprised by the outcome. In fact, I had it figured out before the first clue. Still, though, it had great technical aspects of the chiaroscuro lighting, the panning, the close-ups. Good little film. Until next week...
For this week's Daily Dose, the theme is "First Words" and an analysis of characterization. In each clip below, we see a stark contrast between the primary characters. Although in Ministry of Fear the contrast is internalized by a single character. My observations follow each clip below.
Otto Preminger's Laura
Right away the film establishes a character contrast between Waldo Lydecker and Detective McPherson.
Lydecker: the extravagant, well-traveled, well-educated man (as observed by his Mid-Atlantic accent) with attention to detail. He clearly is a man who likes to control others.
He is a man who values objects and like his collection, Laura, too is a
possession and an object that he values. He may claim to love her, but
he's more in love with woman he created in his own image. His image is of utmost importance. Now as a linguist, I can't help but take note of his name Lydecker to imply liar.
McPherson:
ordinary Joe, blunt yet flippant. He's a man who's seen it all hence
his ease upon standing over a man in his tub. I just love how he tosses
the towel at him. He is clearly unimpressed by Lydecker's wealth. He may seem a bit uncouth particularly the way he seats himself in Lydecker's bathroom.
As more characters are introduced, each seems to be some sort of archetypical character.
Edward Dmytryk's Murder, My Sweet
This film is new to me; however, I've read the novel (Farewell, My Lovely) and 5 other Chandler novels featuring Marlowe (The Long Goodbye is my favorite). How he is portrayed on film is similar to how he's portrayed in print.
He's a no nonsense type of detective who possesses a moral compass. He investigates a case and follows through simply because he wants to know the truth. He's not too interested in shaking dames down for their money for a high priced retainer (as we saw in Born to Kill). He is also strictly professional. His female clients are just that: clients. They are not potential love interests as is common in most detective films. He doesn't flirt with them, and he definitely doesn't fall for the femme fatale tricks. This is clearly demonstrated in this scene in which he man-handles his potential client to get to the truth. He doesn't fall for her charm.
Another key attribute is that Marlowe is observant of others as well as introspective which works well in the film noir style. I feel noir is more character driven than plot driven and largely psychological, contributing to the notion that film noir is largely a commentary on the darker side of U.S. society.
Fritz Lang's Ministry of Fear
The first striking moment for me was the set direction in which we see our protagonist from behind looking out toward the open door. Instead of casting shadows to create mood, Lang casts a light from the open door. Milliand's character is currently seated in darkness representing his current mental state and his yearning to move forward toward a brighter future as represented by the open door.
I want to say there are two sides to this character. Right away, I noticed that once we finally see his face, only half is shown in full light; the other half in dark shadow. We also see him mostly in profile, so we really haven't gotten a full look at his face in a bright light. Considering he's leaving an asylum, I would liken the pendulum to represent his sanity. He may either swing one way or the other. Perhaps he may later need to decide between good and evil.
In M, the scene begins with children standing in a circle while the young girl points and chants the morbid chime as she rotates. This fits the pattern of a clock. As she completes the rotation, she chimes for one child to be out of the rotation. As the film continues, there are many shots of ticking clocks chiming the hour.
Considering this powerful symbol, perhaps at a certain hour (6:00) we can expect a major event to occur later in this film Ministry of Fear.
Michael Curtiz's Mildred Pierce
There has been quite a bit of discussion on whether or not Mildred Pierce is a film noir. This is one of my favorite films. I've always called it femme noir because it is strikingly different from traditional noir styles. Generally the voice-overs and protagonists in both hardboiled fiction and films noir are men. In this film, the main character is a woman whose adversary is not a man but a femme fatale; her own daughter.
In this particular scene we see the stark moral contrast between mother and daughter in both posture and wardrobe attire. Veda is the cold and calculating femme fatale who will do anything to achieve money. She lacks a moral compass and all compassion for the people she hurts. Her non-chalant posture highlights this as she is cool, calm and flippant about her lies. Mildred is more the matron who is ethical and wants to restore order as she appears more rigid yet refined. She stands straight as opposed to Veda's more flowing (and hand wringing) posture. The choice for each character's wardrobe is deliberate in showing the contrast. Notice the sharp lines in Mildred's dress that gives her more of a square, straight-edge appearance while Veda's dress defines her curves more (dangerous curves ahead).
Once Veda is ready to reveal why she wanted the money, the camera zooms in closer much as person would when they are eager to hear the truth (or an interesting story). We tend to lean forward for a better listen. Ann Blyth gives a great performance and her facial expressions make her believable as an evil woman. Both women are at an equal sparring position face to face. Veda challenges her mother's morals, ethics and hard work.
As mother and daughter run up the stairs, Veda puts herself at a higher step to give the appearance of power leading up to the slap. Once Mildred regains her footing, she takes a step up and threatens her daughter and it is only then that we now see Veda as truly powerless and we see her for the fraud that she is. It is the only time we see her looking up at her mother with true fear.
My first week of this online Investigating
Film Noir course consisted of an introduction to the film noir genre.
The professor provided links to 4 different films providing a short,
five-minute observation into film noir. Our assignment was to analyze the
dynamic openings and how they contribute to film noir genre. Below are the
clips along with my observation.
Fritz Lang's "M"
The lack of title cards or cast overview takes the
viewer straight into the action. The viewing audience can immediately
sense the tension on the first woman as she yells at the children to stop
singing that awful song. Right away I feel like a voyeur glimpsing into
these characters' lives which adds to the creepiness factor. We are overlooking
the children playing a game. We watch the woman climb the stairs all the while
keeping a distance. It's as though the director is placing us in the shoes of
the "man in black".
The fact that a child's sweet voice singing a violent
rhyme highlights their innocence. They are oblivious to the dangers around
them. In fact they have no sense of danger. It isn't unlike how children today
sing "Ring Around the Rosies" which is about the plague, but they are
unaware of the rhyme's gloominess.
We are introduced to the "man in black"
through his shadow creating an aura of mystery and heightened suspense.
Jean Renoir's "La Bete Humaine"
I have to start by saying that I was watching this
clip on my commute to work. I take the CalTrain along the San Francisco
peninsula. As the film's train approached its station, my train was also making
one of its stops. I was, quite literally, along for the ride. If anyone
reading this takes a commuter train, I HIGHLY recommend watching this again
during your commute.
The dark touches are quite
literal: the dark passage through the tunnels, but I love the contrast of light
particularly as the train approaches the other side. There is a sense of relief
once you exit the other side; sort of like a rebirth. The music expands on
the train's arrival creating an aura of success.
I have a student who is from
France, and I had to ask her for some translations and explanations. The title
means The Human Beast; it makes it a bit clearer about what I can
expect. The train may be a symbol for the conductor. Strong, tough,
gritty, maybe even greed? Perhaps the conductor's relationship with the
train itself (I was reminded of the silent film The General and Buster Keaton's
love for his train).
La Havre is a port city
outside Paris. That explains the empty station. It isn't a commuter train but
rather used for shipments. The emptiness, though, can still peak the audience's
interest. Perhaps some sort of illegal transport or transaction about to take
place? A heist?
The light/dark contrast may
not necessarily be good and evil, but it can be the two sides of human
consciousness. Perhaps some sort of internal conflict? This was usually a
common theme in most hardboiled films noir and fiction.
What I found amusing is despite
all the black smoke, the engineers continue to enjoy a cigarette.I half
expected there would be an explosion of some sort. Regarding smoking as a
staple in films noir, the smoke provided most of the ambiance and set a mood.
One film that comes to mind, though not a film noir, is "Good Night and
Good Luck" with all the cigarette smoke slowly swirling on scene. It
almost felt like a character itself. I think to remove it would have changed
the mood/tone completely.
Symbols
The train whistle is more of
a scream as though in agony.
Fire: can be perceived as a
symbol for damnation.
This train: bat out of
hell. The speed adds to the suspense (especially when you are, yourself,
on a train viewing this clip).
William Wyler's "The Letter"
Technical elements of noir:
Long
single take, panning
The dolly zoom
Use of light/dark contrasts
Use of shadow
Tracking shot
Style elements of noir:
Serenity
abruptly broken by a single gunshot
The Femme Fatale
Cold/callous murder
What was most surprising to
me was the actual murder itself. Generally, murder is referred and not
explicitly shown in classic films. There is always one scene for the shot and
the second scene the victim's reaction. In this scene, both murderess and victim
occupy the same screen shot lending itself to a new style of film production.
Stylistically, I loved the
tracking shot that slowly zooms at the same speed as Bette Davis lowers her
arm. The zoom picks up speed once she drops her weapon.
For the moon sequences, after
the murder, we see the plantation covered in darkness to signify impending
doom, not just for the victim in this scene, but for all those occupying the
plantation. It is a place of darkness/danger. The uncovering of the moon sheds
light on Davis herself. It's as if nature/God is pointing in the direction of
the femme fatale; someone on which the characters and ourselves need to focus.
The moon can also be
interpreted as Davis's mental state with particular reference to the term
"lunacy" or "lunatic"; root word luna (moon). At the height
of her lunacy when she empties the chamber, it's an exposed bright moon. Once
the deed is complete, the moon is covered which may signify her return to
sanity and realization of her actions. However, since the moon reappears, we
note her reaction and those eyes! It's as though she's teetering between sanity
and insanity.
Then I considered another
subtext on femininity; the phases of the moon and women's reproductive system.
Because our cycle is 28 days, it often parallels the phases of the moon (also
28 days). Perhaps this could hint at a moment of hysteria due to the menstrual
phase when women are at their most ornery. (I know; it's a stretch.)
Delmer Dave's "Dark Passage"
Ah...Dark Passage! One of my
favorite noir films of all time; I just love seeing San Francisco in the 1940s.
We don't get the first person
POV until after he emerges from the trash can. What I like about his emergence
is the encircling of his character. I can see this two ways: It's almost like a
spotlight on him especially since he is being pursued by the authorities. The
second way, which is the strongest point for me, is a metaphoric rebirth of his
character. He emerges from darkness to light much as with all living mammals
that pass through the birth canal. It's especially poignant that he emerges
into a naturalistic environment. Of course, this is reaffirmed with his
upcoming actions further in the film (I won't spoil the rest of it).
Once we establish the first
person POV, we become his character. We, literally, see through his eyes. We
also hear his thoughts. We run the same emotions as he does: the fear of being
discovered, the paranoia of looking past our shoulders and being asked too many
questions. Will we be "found out"?
As per its contribution to
film noir, the most obvious is the voice over. This is the first of the daily
doses that has it. This is a staple of film noir. Another factor is the screen
shot from the trash can. Using the circular shape to highlight the character.
I had heard about this film many years ago, but never sat down to watch this. It's rarely exhibited and I don't believe Stanford Theatre has shown this film. It was rather controversial for its time and perhaps even more so today. You don't see too many films about a child murderer. But the movie was less about the murderer than it was a commentary on society, parenting and the judicial system. As I watched the film, I realized that after nearly 85 years of M's release, nothing much as changed in terms of social hysteria and mob rule.
Following the news of the latest child abduction and murder, society goes into a panic where even the most innocent of actions are misinterpreted as threatening. A child asks a gentleman for the time and he is assumed to be the murderer. Thus, all men are perceived as threats to children. Even mention of the word "murderer" brought about a lynch mob and attacked a man who complained to police about his apprehension of a minor crime. We see this today with the Amber Alerts and when accusations hit social media; right away there is a presumption of guilt over innocence. Never mind the truth.
The kangaroo court at the film's climax was nothing short of shocking. Criminals took it upon themselves as both jury and executioner to condemn a man who was clearly mentally ill with no impulse control. Yet, those who stood in condemnation were true murderers who killed discriminately and with motive. I think what I found most disturbing was the comments from women and mothers; they cursed, they damned, they advocated violence. These are your creators of life spewing vitriolic acid. If not for law enforcement intervening a the last second, the would have been beaten to death.
Ultimately, director Fritz Lang's message to all parents was to watch over their children closely. Justice's blind decision wouldn't have mattered as it does not bring back the victims. Hence, the warning to protect your own. A warning, after all these years, still isn't heeded.
But is it Noir? This film was included as part of TCM's Summer of Darkness; 9 Fridays of Films Noir, and it was the first film to air under this banner. I would have said no if I had stuck to my original premise that noir is a mood. But from a technical standpoint, the film does have the noir style.
POV Shot
We view up from a child's perspective.
The upshot of the inspector places him in a position of power
Here, we look down at a suspect from police's perspective.
In a position as observer from a parent's perspective
Shadows/Dark Figures
Hans Beckert, der mörder, introduced as shadow
Vigilantes in search of Hans Beckert
Set Direction
In films noir, sets generally contain straight lines, parallel structures to evoke a sense of pursuit, anxiety and fear especially if those images are repeated.
The best shot of the film in my humble opinion
While the story may not be your typical hardboiled detective plot, it does contain the criminal plots with a focus on the investigative process and bringing a murderer to justice. The technical elements are there. This is more of a precursor of what was yet to come in Hollywood filmmaking.
I have always been a fan of the darker elements of fiction whether it is written or visual arts. As I contemplated a specific study for my future PhD program, I decided it was best to focus on my passion; Detective/Crime Fiction, Film Noir and the Wrong Man. I already have several ideas going through my brain, but I'm coming close to developing a thesis for my dissertation. So as I prepare for the application process, I have been re-reading some of my hardboiled collections and purchasing new ones. Then, as I was watching Turner Classic Movies, I saw a preview of the coming summer series Summer of Darkness: A Film Noir Festival. Every Friday, TCM will be airing 12-13 films noir. It's a good thing I have Fridays off. It will definitely be a day of lounging and film noir viewing.
In addition, TCM has paired with a free online course entitled: Investigating Film Noir. The course offers certificates of completion at the quarter's end. Yes, indeed, I signed up. I figured it would be a good start to my upcoming studies. Therefore, I've decided to start this new blog with a focus on Noir.
My purpose is to critique and analyze each movie not just during this film noir festival but when watching any film noir. I will include thoughts on defining noir both on screen and in text as well as analysis on the elements of noir. I may deviate from analysis and include posts about attending noir festivals or viewing noir artwork. I'm really excited about investigating all aspects of the noir genre. I welcome all comments and opinions related to this subject.
Ciao!
