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Venice Biennale

It would be nice to do something political (AIS 22)

Film Noir: films of trust and betrayal

Film Noir: films of trust and betrayal Paul Duncan and Film Noir  

When I think of Film Noir, I think of stillness and silence. I think of a pure black screen with tiny pinpricks of white trying to break through. The image is of the central character thinking. He is thinking about all the bad things that are about to happen to him. He is not happy. He knows that shit happens, but why does it have to happen to him? Film Noir gives him the answer: Why not?The usual relationship in a Film Noir is that the male character (private eye, cop, journalist, government agent, war veteran, criminal, lowlife) has a choice between two women: the beautiful and the dutiful. The dutiful woman is pretty, reliable, always there for him, in love with him, responsible – all the things any real man would dream about. The beautiful woman is the femme fatale, who is gorgeous, unreliable, never there for him, not in love with him, irresponsible – all the things a man needs to get him excited about a woman. The Film Noir follows our hero as he makes his choice, or his choice is made for him.“When I think of Film Noir, I think of stillness and silence. I think of a pure black screen with tiny pinpricks of white trying to break through. The image is of the central character thinking. He is thinking about all the bad things that are about to happen to him. He is not happy”

“Recent Films Noirs, often called Neo-Noir, have been made by film directors who seem to have no political or sociological standpoint, and seem more interested in style over content. For example, as entertaining as the films of Quentin Tarantino are, they are no more than a collection of references to other films and books”