The Features and Characteristics of Classic Film Noir Movies

Portfolio Entry #6

The above video is a compilation of clips from well-known film noir films.

Film noir, literally meaning “black or “dark” film in French, are the collection of films released between 1941 and 1958. These films, more commonly recognised to belong to a genre, are American classics. Film noir films are distinguished from films of other genres because of their specific stylistic features such as the use of low-key lighting, German expressionism cinematography, with prominent characters such as the “hard-boiled” detective and the “femme fatale”. The 1941 film The Maltese Falcon, and the 1958 film Touch of Evil, are now recognised as the conventional bookends of the genre, due to their typical film noir characteristics. Noir films were restricted in what they could show on screen by a set of industry censorship guidelines, known as the Motion Picture Production Code for films created between 1930 and 1968. Noir films are particularly known for their pessimistic characters, dark plot devices and dangerous narrative storylines. These films were predominantly “B-list” movies.

As America was nearing the end of World War II in 1945, there was an influx of films with the focus on violence, crime and pessimism. These films were due to increased rate of violence in crime in post-war America and the pessimistic attitude that many Americans had in the society at the time. Noir films are often concerned with faults within the characters and the confusion that they create for themselves. The classic 1945 film, Detour, directed by Edgar G. Ulmer is film that is often considered “quintessentially noir”. That is, the notion of faulty characters, seductive femme fatales, the rule of fate and, of course, justice. The pessimism and dark tragedies of certain characters within the film were a reflection of the social security of the society at the time of production.

Due to the Motion Picture Production Code, film directors and writers were restricted as to what they could their characters could show and say on screen. For this reason, most noir films were devoid of explicit violence and sex scenes. Directors and writers were forced to discover creative ways in which these acts could be implied. This was done mainly through innuendo. The dialogue in most noir films was characteristically fast and full to the brim with innuendo.

Phyllis: “There’s a speed limit in this state, Mr Neff. Forty-five miles an hour.”

Walter: “How fast was I going, officer?”

Phyllis: “I'd say around ninety.”

- Double Indemnity

The above dialogue from the 1941 film, Double Indemnity, is known for doing just the same. Society at the time demanded that films meet the Production Code.

Another plot feature that was often used in noir films was the perception of the ‘rule of fate’. Although noir’s most prominent characters were depicted as courageous and valiant, each character had their weakness. For the “hard-boiled” detective, their weakness was most likely the “femme fatale”. And for the femme fatale, their weakness was most likely the need for freedom. Their weaknesses are what made noir films so argumentative. The characters, particularly the femme fatale, were agreeing to do whatever it took in order to get what they wanted. However, in most noir films, the rule of fate meant that no matter the intention, all crime had to be punished.

“Far [places]? We’re in one of them now. Running away doesn’t work. I tried it. Everything’s bad, Michael. Everything. You can’t escape it or fight it — you’ve got to get along with it, deal with it, make terms.”

- The Lady from Shanghai

Billy Wilder’s 1944 film, Double Indemnity is an example of a film that exploits the rule of fate. Both Walter Neff and Phyllis Dietrichson were successful in the murder of Phyllis’ husband. Although Walter is depicted as a respectable and morally conscious man at the beginning of the film, it is his attraction to Phyllis that destroys him. Both Walter and Phyllis meet their fate at the end of the film, with Walter killing Phyllis and vice versa. The crime that they had committed had brought them down and killed them both.

The quintessential noir characters were another stylistic feature of film noir that reflected the state of the society in which they were created, in particular the “hard boiled” detective. The staunch and sturdy detective was a prominent character in most classic noir films. The hard-boiled detective often begins to investigate a crime but regularly finds that he must go beyond the explanation and make some kind of personal choice or decision. The detective is often known to sacrifice his personal needs for justice and truth. He feels obligated to finish the job that he started, even though it may not be was he desires.

“He gave me a hundred bucks to take care of him and I didn’t. I’m just a small businessman in a very messy business, but I like to follow through on a scale.”

- Murder, My Sweet

These are a few of the most common features and characteristics of a classical film noir film.