Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...
Joaquim da Silva Fontes, Significação e Estabilidade do Género no ... Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...
2.2.1.4 Conclusion The Spiral Staircase is often considered a production that spans the period of costume drama genre and film noir. In fact, one frequently finds it difficult to preserve this distinction, as the period film, for instance, can also depict such qualities as chaos, alienation, and despair that are characteristic of film noir. This difficulty is further emphasised in Robert Siodmak’s film in its distinctive vision of dark instability so predominant in the noir universe. The mute servant who believes she has witnessed a murder finds herself effectively trapped inside her own silence. Unable to verbalise her fear and knowledge, Helen becomes a victim of near paranoia. Her problems are compounded by her own pre-existing traumas and fantasies, as suggested by the film’s mock marriage ceremony. As she becomes the main target of a menacing killer, the film creates a narrative irony as present and as powerful as any film noir. The noir-related period films occasionally reflect a world solidly rooted in the iconography of the past. The horse-drawn carriage that draws up in the first images of The Spiral Staircase stands as a good example. The film opens with a slightly cloudy sky when Helen is taken into town in a horse and buggy (fig. 93), the means of transport that is normally seen in this type of Gothic productions. On her way back to the Warren mansion, the weather suddenly changes into a severe storm, with howling winds, all providing a dark and terrifying atmosphere, and showing Helen crossing an abandoned backyard, with the gates creaking and slamming, amidst inexplicable noises. We see a man behind the trees, almost like a haunting and frightening spectre (fig. 94) following Helen’s movements into the house. The Warren’s house then takes on the iconography of the haunted mansion so popular in this category of films. This is the type of mysterious place that foments terror, representing the Gothic scenario of familial disintegration, real and imagined imprisonment, and sexual coercion. 332
Figure 93. The Spiral Staircase Figure 94. The Spiral Staircase 333
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2.2.1.4 Conclusion<br />
The Spiral Staircase is often considered a production that spans the period of<br />
costume drama genre and film <strong>no</strong>ir. In fact, one frequently finds it difficult to preserve this<br />
distinction, as the period film, for instance, can also depict such qualities as chaos,<br />
alienation, and despair that are characteristic of film <strong>no</strong>ir. This difficulty is further<br />
emphasised in Robert Siodmak’s film in its distinctive vision of <strong>da</strong>rk instability so<br />
pre<strong>do</strong>minant in the <strong>no</strong>ir universe. The mute servant who believes she has witnessed a<br />
murder finds herself effectively trapped inside her own silence. Unable to verbalise her<br />
fear and k<strong>no</strong>wledge, Helen becomes a victim of near para<strong>no</strong>ia. Her problems are<br />
compounded by her own pre-existing traumas and fantasies, as suggested by the film’s<br />
mock marriage ceremony. As she becomes the main target of a menacing killer, the film<br />
creates a narrative irony as present and as powerful as any film <strong>no</strong>ir.<br />
The <strong>no</strong>ir-related period films occasionally reflect a world solidly rooted in the<br />
ico<strong>no</strong>graphy of the past. The horse-drawn carriage that draws up in the first images of The<br />
Spiral Staircase stands as a good example. The film opens with a slightly cloudy sky when<br />
Helen is taken into town in a horse and buggy (fig. 93), the means of transport that is<br />
<strong>no</strong>rmally seen in this type of Gothic productions. On her way back to the Warren mansion,<br />
the weather suddenly changes into a severe storm, with howling winds, all providing a <strong>da</strong>rk<br />
and terrifying atmosphere, and showing Helen crossing an aban<strong>do</strong>ned backyard, with the<br />
gates creaking and slamming, amidst inexplicable <strong>no</strong>ises. We see a man behind the trees,<br />
almost like a haunting and frightening spectre (fig. 94) following Helen’s movements into<br />
the house. The Warren’s house then takes on the ico<strong>no</strong>graphy of the haunted mansion so<br />
popular in this category of films. This is the type of mysterious place that foments terror,<br />
representing the Gothic scenario of familial disintegration, real and imagined<br />
imprisonment, and sexual coercion.<br />
332