Author: pparcellin@gmail.com
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Cable Guys: The Elevator Operators of Noir
We don’t see many elevator operators in our daily lives, but in noir they’re as common as neon signs and clouds of Chesterfield smoke. Elevator operators in film noir work in posh skyscrapers and skid row fleabags. They’re anonymous functionaries battling monotony and are nearly invisible extensions of the machinery they operate. Or they can…
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The American Dream … According to Film Noir
The “American Dream,” the 1940s-’50s utopian ideal of family life, is the spark plug that sets many a film noir in motion. The term “American Dream” has come to mean an attractive family, an upscale suburban home, a two-car garage and a manicured lawn — trophies required of those who wish to be at one…
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What Really Makes a Film Noir? The Noir Rorschach Test
Let’s be clear: film noir isn’t a genre. Westerns, war movies and horror films are all genre pictures with motifs that signal the kind of film you’re watching. But noir isn’t as easy to spot. There are noir cliches — shadows cast by venetian blinds, voice-over narrations by weary, defeated perps and fall guys, and…
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The Suburban Jungle: When Noir Bled Out of the City
Many American films noir of the early 1940s were anchored to big cities — Los Angeles, San Francisco, New York. So were a number of returning World War II GIs. As veterans reentered civilian life and began migrating away from urban centers to newly developing byways of suburbia, noir followed. Away from shadowy alleyways and…
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Southern Noir: Where Crime Becomes Inheritance
Noir is usually mapped onto cities — Los Angeles, New York, Chicago — places where corruption hides in plain sight. But move the genre south and something shifts. Crime doesn’t disappear; it festers. Institutions weaken, religion distorts, and violence becomes intimate rather than anonymous. Gothic Noir in Steamy Climates ‘Christmas Holiday’ (1944)Audiences expecting a wholesome…
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Noir’s Benevolent Tyrants Create Their Ideal Women
In noir, dark characters who aim to control the vulnerable are easy to spot. Blackmailers, femmes fatale and hardened criminals exert their grip on others in unsubtle ways. But sometimes the aggressor arrives with a smile and a bouquet of roses. He may present a polished image, but his intentions are always unsavory. In “Pygmalion,”…
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In Noir, Life Insurance Appeals to Profit-Minded Killers
Few noir plots are as coldly logical as insurance murder. Unlike inheritance killings, which require wealth, insurance turns death into an accessible commodity. It democratizes murder. Movie gangsters who kill often say it’s strictly business, nothing personal. But with insurance fraudsters, it’s typically a family affair, and it’s always deeply personal. Here are some noirs…
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Pure noir exposes crime films’ darkest, most pessimistic core
Noir comes in a number of hybrid varieties, including gangster films, heists, police procedurals and private detective stories. But some noirs don’t use standard crime film types as their foundation. Pure noirs, told from the point of view of characters who are neither career criminals nor law enforcers, plainly reveal the genre’s darkest tenets: that…
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Skepticism takes a holiday: When noir became public relations
Noir traditionally thrives on moral instability. Criminals, police, politicians and ordinary citizens occupy the same compromised terrain, where motives blur and institutions rarely deserve trust.But a parallel strain of postwar crime films moved in the opposite direction. Documentary-style procedurals borrowed noir’s visual tension while stripping away its skepticism, replacing ambiguity with institutional certainty and turning…
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Noir mirrors: A broken world reflected in shattered glass
In the often disjointed world of film noir, a mirror is seldom just a mirror. Those silvery reflective surfaces can suggest a lot of things: paranoia, dual personalities and narcissism, to name just a few. They also distort reality. Facing mirrors may reflect the image of a figure into infinity, suggesting a splintered, dissociated personality.…