My Favorite Classic Film Noirs
I’ve posted several times about my favorite movie genre, classic film noir. What can I say? I enjoy the dark, brooding atmosphere of these movies and the complexities of human emotions. Photo by krikit
I wanted to touch on a couple of my favorite movies. My list includes a heavy dose of black and white movies. I like the atmosphere of these movies. I can also appreciate not having the distraction of color. Just the facts, please.
Double Indemnity is as classic as they come. Barbara Stanwyck is about as ruthless as any femme fatale can be. The dialogue is quick and snappy. If you place it in the context of its time, it was a racy movie. The California setting is quintessential film noir for this era.
The Big Sleep is one of Humphrey Bogart and Lauren Bacall’s most outstanding movies. The chemistry between the two of them is unmistakable. The plot is a challenge of itself, with all the classic elements—old murder, new murder, sexy dialogue, an especially mean adversary. Censors had a problem with the original Raymond Chandler novel, leaving out the more racy bits to come up with this confusing albeit entertaining film.
Strangers on a Train is at times a disturbing movie and one you’re not likely to forget. Alfred Hitchcock masterfully directs this story of the meeting of two strangers and the "criss-cross" scheme of traded murders. This one never fails to keep me on the edge of my seat.
The Postman Always Rings Twice, the original one, builds on a classic theme of adultery and murder. Lana Turner is beautiful as the unhappy wife. Things don’t always go as planned as this movie will show. Don’t bother with the newer version with Jack Nicholson. The film goes on some odd paths of gratuitous sex that detract from a good plot.
Rear Window is the sole colorized movie on my list. There’s so much going for this movie, and color enhances these moments. From the disturbing blond color of Raymond Burr’s hair to the classic introduction of Grace Kelly in the movie—truly the most beautiful woman in Hollywood—to the set of the apartments, color is key. The film puts the viewer in a what-would-you-do kind of scenario which is fun and suspenseful.
The Killers is a dark classic, told in a retrospective style of an insurance investigator playing PI to solve the murder of a former boxer. William Conrad is featured in the beginning of this movie, playing a tough thug. He does it well too. The film also features the gorgeous Ava Gardner in a role that seems to be written just for her. A classic.
If you’re looking for a great treatment of classic themes, turn to film noir.
Why I Like Classic Film Noir
Classic film noir is my favorite movie genre. I admit it influenced the creation of my current work, “Murder To Order”. I drew upon classic characterizations of chivalrous men and femme fatales for my characters. I wanted my characters to be classy, and where better to get inspiration than from the masters?
My atmospheres are not dark, however, nor my plots. Rather they revolve around classic themes. There’s that word again–classic. I gravitate to what works. I gravitate toward familiar waters. I swim in waters that I consider classic, that stand the test of time. It’s a good, safe investment.
What I do is this. I utilize the classics with a modern twist. I bring the classics of the past to present settings and let them go. More often than not, they do not disappoint. They aren’t cheap. They try to take the high road even if they happen to be a murderer.
Every new movie I discover teaches me more. Take the latest movie I stumbled upon, “Too Late For Tears“. You’ve probably never heard of it. I never did, nor the actors in it. Yet, the movie featured a positively ruthless femme fatale whose image I’ve stored away for a future character. My point is that these characters are drawn closer to the core, making them great fodder for drawing different, perhaps more complex characters. So, if you need inspiration, look back.
Photo by __Dori__
Classic Film Noir
I’ll admit it. I’m stuck in something of a fog like the dark atmosphere of a classic film noir. I rarely watch TV. Any given evening I’d rather puzzle it out with Humphrey Bogart or cringe at the ruthless of Barbara Stanwyck. I am a film noir junkie.
What is it about the genre that attracts me? I like the dark settings. To be very honest, I can identify with the strange personalities. I feel most human in the company of human characters. I understand their foibles. I take a strange comfort in their humanness. So, when it comes to a decision of a movie to watch, I’m always opting for something in the black and white flavor.
I appreciate a movie that is more about human emotion than special effects or blatant, over-the-top marketing. Marketing I feel works best when it is subtle and the prospect isn’t aware that he’s being sold. There’s also the intelligent factor.
Film noir can challenge viewers. Try and summarize the plot of “The Big Sleep” easily. I like an intellectual challenge. But it’s also about its dark nature. I shy away from the fads. I embrace the esoteric, which film noir epitomizes for me. Hence my love for a genre that touches the dark secrets in all of us.
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