What is neo-noir?

Since the decline of major productions of film noirs following the notable heyday of the genre in the 1940s and 1950s, there can be elements of film noir found in more recent films, which differ from the traditional productions but still have some of the same features as well. These types of films are often referred to as neo-noirs.

 Simply translated neo-noir means new black; the term comes from the Greek term neo (new) and the French term noir (black).

 Neo-noirs are different to noirs in that because of their time they have more resources available which film noirs did not. One of the main differences though in neo-noirs is that they are presented to the viewer in a different way than film noirs. The narratives in neo’s are based very much around making the viewer aware that they are watching a film rather than getting too attached to the storyline. This shows a progression from film noirs where viewers were encouraged to support the anti-heroes portrayed in them. Neo’s typically use camera movements and development in the narrative to create the effect of the viewer watching a movie rather than supporting a led character.

 An evident redefinition or noir in neo-noir is the storyline which is employed which differs from the classic noirs. Unlike the classics where crime and betrayal was very much at the centre of the plot to noirs, neo differ and bring more modern subjects to light, this is much down to the changes in society over time. The storyline to neo-noirs is often based on identity crisis, technological problems and social problems. Though in some cases with films like Sin City and L.A. Confidential the crime is very much still the centre to the plot. In truth most widely known neo-noir will have a mix of genre with there being elements similar to film noir as well as another gene at the same time e.g. Blade Runner where film noir is mixed with science fiction.

 It can however be argued that the term neo-noir is too broadly used and that too many films qualify as neo-noir. Despite this examples of neo-noirs from the 1970s to today include: Sin City (2005), L.A. Confidential (1997), Blade Runner (1982), Wild Things (1998), Memento (2001), Fargo (1996) and Against All Odds (1984).

 In a film like Sin City which is largely held to be the most notable neo-noir, the comic strip pictures which are often shown in the film show and adaption of typical stylistics which noirs previously held, however with the film being in black and white for much of it there can be clear links to the classic film noirs because of this and the narrative the film has of crime. Some parts of Sin City reflect hugely on classic noir and are at times almost identical but with a modern twist for example there is a scene where a woman is shot after kissing her killer on a rooftop. In this scene there is an evident difference which was not present in classic noirs being her red dress being shown in colour while the rest of the scene and much of the film is in black and white. But the scene in particular shows the type of deceit and betrayal after gaining trust which classic film noir became famous for doing.

Classic Film Noir - Laura (1944)

 Laura is a classic film noir from 1944 and was directed by Otto Preminger. It portrays the story of a detective who is working on a case of the murder of an attractive and successful advertising Laura Hunt (Gene Tierney). As the film develops the detective, Mark McPherson (Dana Andrews) finds out all about Laura experiences from various sources and grows increasingly infatuated with her, gradually the infatuation becomes more of an obsession.

 Then one night McPherson falls asleep and is woken up by the sound of someone entering the apartment, which turns out to be the previously presumed murdered Laura Hunt, at the point of discovering Laura is indeed alive McPherson makes the analysis that it must have been Diane Redfern who was a model brought in by Laura’s fiancé while she was out of town mistakenly thought to be Laura. It becomes evident that the killer must be found quickly as now Laura is still alive she is in danger. McPherson determines it must be Waldo Lydecker (Clifton Webb) who is a newspaper columnist who knew Laura well and claimed to have mentored her. McPherson tells Laura not to let anyone in the apartment while he is gone but Lydecker gets in and is ready to shoot Laura when just in time McPherson appears to shoot and kill Lydecker. After he is shot it becomes clear the Lydecker admired Laura as he utters his final words “Goodbye, Laura. Goodbye, my love”.

 The film is known to be one of the classic film noirs and like many noirs in centred on a police officer. Also a suspicious death is the focal point of the story which is common for noirs. The killer is unknown until the end and the storyline brings twist to viewers when it is found that Laura is still alive.

 Laura reflected in many ways the uncertainty around during the war and this was shown in the way in which everyone was a suspect to the apparent death of Laura.

 Finally the use of shadows in particularly evident at the end of Laura, when Lydecker creeps up on Laura to try and kill her, the director cleverly uses large shadows which helps to create suspense.

Classic Film Noir - Double Indemnity (1944)

 Double Indemnity was a famous American film noir made in 1944. The title of the film “Double Indemnity” means a clause found in certain life insurance policies which can double the money given if death is seen to be accidental.

 Directed by Billy Wilder the film portrays the story of an insurance salesman who on a routine calls meets a woman Phyllis Dietrichson (Barbara Stanwyck) who hatches a plan to take out insurance on her husband then kill him and claim the insurance.

 At first the salesman Walter Neff played by Fred MacMurray wants nothing to do with the murderous scheme but eventually he agrees and together they go on to kill the Phyllis’s husband making it look like an accident in the process so the double indemnity can be claimed. Neff then finds out that Phyllis has been having an affair with the daughter of her husband’s boyfriend and that her husband’s previous lover had died in mysterious circumstances while Phyllis was a nurse at the hospital she was treated. Neff confronts Phyllis and plans to kill her but Phyllis then shoots him before he gets the chance to. In a sudden turn of events Phyllis declares that she loves Neff and hugs him but as she pulls out of the hug her face frowns. Neff exclaims “Goodbye, baby” and shoots her twice killing her. Then after confronting Nino (Phyllis’s lover) in outside where he shoots her, Neff tells Nino to not go in the room but go to his girlfriend instead, Neff then precedes injured back to his office.

 At his office Neff picks up his Dictaphone (which goes back to when Neff starting telling the story) and confesses what he has done but an investigator (Keyes) hears enough of the confession to know what Neff has done. Lastly Neff explains to Keyes who is something of a friend of Neff that he will flee to Mexico rather than face a death sentence for the deaths however before he can reach the leave the behind he falls at a nearby door. Wounded from the shot wound inflicted previously by Phyllis he lays on the floor, pulls out a cigarette while in discomfort which the investigator lights for him, Neff has a few smokes of the cigarette at which point the credits play out.

 Double Indemnity is regarded as one of the most successful film noir of all time. It was ranked at thirty eight in the top twentieth century American films by the American Film Institute. This shows how popular the low budget film became following its release despite only having a budget of marginally less than a million.

 The film has many typical traits of noirs including a non linear narrative as Neff tells his story at the start through the Dictaphone which is continued at the end as the investigator comes in.

 Barbara Stanwyck who played the lead lady was a classic example of a femme fatale, she killed her husband and appeared to have killed before, and this ruthless mentality was shown at first near the end when she shoots Neff. Also she was portrayed as being the dominant character in the film as she planned the original killing of her husband and used her looks to get what she wanted by misleading Neff.

 Neff was also the typical hero in noirs. He was a man dragged into murder by the devious Phyllis and brought into a life of crime after previously being a regular insurance salesman.

 Just as in many noirs there is no happy end for the couple in Double Indemnity as the one of them is killed by the other. This is a trend which is in many noirs in which the moral seems to be a life a crime leads down dark paths which the characters do not get out of.