In noir, tales of wrongful accusation tend to play out on mean streets that reflect social inequalities, which at times do have a nasty way of tilting normally upright people[…]
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“The morally complex interrelationship of hero/villain, which is partially accountable for the remarkable intensity of his films, has at its roots the film noirs of the 1940s. The darker side of human nature, the interiority of these earlier, psychologically troubled characters, is the determining force in Mann’s noirs. We see the director striving for the depth and complexity of characterization he ultimately achieved in the great films of the 1950s.”
Film Noir: The Encyclopedia, 4th edition; edited by Alain Silver, Elizabeth Ward, James Ursini, and Robert Porfirio. Hardcover. $49.95. New York: Overlook Duckworth, 2010. ISBN 1-59020-144-2. The consensus is clear:[…]
“Noir films with non-urban settings exploded the idea that escape into a safer or healthier world was possible, showing how temptation and violence can attack anyone, anywhere.”
“The black sheep of the family, noir’s tramps are the tin-age antithesis to Chaplin’s golden-age thesis.” In the American cinema of the 1920s through the 1940s, the figure of the[…]
“There is only Noir!” The Noir Vision To discuss the history of film noir since the ’50s is to fly in the face of conventional studies, which assume the “genre”[…]
“Some good pictures come out of Hollywood. God knows how, but they do.” – William Faulkner In their movie Barton Fink (1991), Joel and Ethan Coen presented a character, W P.[…]