Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

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Side Street MGM 1950. Prod: Sam Zimbalist. Dir: Anthony Mann. Scr: Sydney Boehm. Ph: Joseph Ruttenberg. Cast: Farley Granger, Cathy O’Donnell, James Craig, Paul Kelly, Edmond Ryan. Sleeping City, The UI 1950. Prod: Leonard Goldstein. Dir: George Sherman. Scr: Jo Eisinger. Ph: William Miller. Cast: Richard Conte, Coleen Gray, Peggy Dow, John Alexander, Alex Nicol. Slightly Scarlet RKO 1956. Prod: Benedict Bogeaus. Dir: Allan Dwan. Scr: Robert Blees; from the novel Love’s Lovely Counterfeit by James M. Cain. Ph: John Alton. Cast: John Payne, Arlene Dahl, Rhonda Fleming, Kent Taylor, Ted de Corsia. Somewhere in the Night Fox 1946. Prod: Anderson Lawler. Dir: Joseph L. Mankiewicz. Scr: Howard Dimsdale and Joseph L. Mankiewicz, adapted by Lee Strasberg; from a story by Marvin Borowsky. Ph: Norbert Brodine. Cast: John Hodiak, Nancy Guild, Lloyd Nolan, Richard Conte, Josephine Hutchinson. Sorry, Wrong Number Par 1948. Prod: Hal B. Wallis and Anatole Litvak. Dir: Anatole Litvak. Scr: Lucille Fletcher, from her radio play. Ph: Sol Polito. Cast: Barbara Stanwyck, Burt Lancaster, Ann Richards, Wendell Corey, Harold Vermilyea. Spiral Staircase, The RKO 1946. Prod: Dore Schary. Dir: Robert Siodmak. Scr: Mel Dinnelli, from the Ethel Lina White novel Some Must Watch. Ph: Nicholas Musuraca. Cast: Dorothy McGuire, George Brent, Ethel Barrymore, Rhonda Fleming, Kent Smith. Spiritualist, The Eagle Lion 1948. Prod: Benjamin Stoloff. Dir: Bernard Vorhaus. Scr: Muriel Roy Bolton and Ian McLellan Hunter, from an original story by Crane Wilbur. Ph: John Alton. Cast: Turhan Bey, Lynn Bari, Cathy O’Donnell, Richard Carlson, Donald Curtis. Story of Molly X, The Univ 1949. Prod: Aaron Rosenberg. Dir: Crane Wilbur. Scr: Crane Wilbur. Ph: Irving Glassberg. Cast: June Havoc, John Russell, Dorothy Hart, Elliot Lewis, Charles McGraw. Strange Illusion PRC 1945. Prod: Leon Fromkess. Dir: Edgar G. Ulmer. Scr: Adele Commandini; from an original story by Fritz Rotter. Ph: Philip Tannura. Cast: James Lydon, Warren William, Sally Eilers, Regis Toomey, Charles Arnt. Strange Love of Martha Ivers, The Par 1946. Prod: Hal B. Wallis. Dir: Lewis Milestone. Scr: Robert Rossen, from an unpublished story, Love Lies Bleeding, by Jack Patrick. Ph: Victor Milner. Cast: Barbara Stanwyck, Van Heflin, Lizabeth Scott, Kirk Douglas, Judith Anderson. 456
Stranger, The RKO 1946. Prod: S.P. Eagle. Dir: Orson Welles. Scr: Anthony Veiller [with uncredited contribution from John Huston and Orson Welles]; from a story by Victor Trivas. Ph: Russell Metty. Cast: Edward G. Robinson, Loretta Young, Orson Welles, Philip Merivale, Billy House. Stranger on the Third Floor RKO 1940. Prod: Lee Marcus. Dir: Boris Ingster. Scr: Frank Partos. Ph: Nicholas Musuraca. Cast: Peter Lorre, John McGuire, Margaret Tallichet, Charles Waldron, Elisha Cook, Jr. Strangers on a Train WB 1951. Prod/Dir: Alfred Hitchcock. Scr: Raymond Chandler and Czenzi Ormonde, adapted by Whitfield Cook; from the novel by Patricia Highsmith. Ph: Robert Burks. Cast: Farley Granger, Ruth Roman, Robert Walker, Patricia Hitchcock, Leo G. Carroll. Street with No Name, The Fox 1948. Prod: Samuel G. Engel. Dir: William Keighley. Scr: Harry Kleiner. Ph: Joe MacDonald. Cast: Mark Stevens, Richard Widmark, Lloyd Nolan, Barbara Lawrence, Ed Begley. Sudden Fear RKO 1952. Prod: Joseph Kaufman. Dir: David Miller. Scr: Lenore Coffee and Robert Smith; from the novel by Edna Sherry. Ph: Charles Lang, Jr. Cast: Joan Crawford, Jack Palance, Gloria Grahame, Bruce Bennett, Virginia Huston. Sunset Boulevard Par 1950. Prod: Charles Brackett. Dir: Billy Wilder. Scr: Charles Brackett, Billy Wilder, D.M. Marshman. Ph: John F. Seitz. Cast: Gloria Swanson, William Holden, Nancy Olson, Erich von Stroheim, Fred Clark. Suspect, The Univ 1944. Prod: Islin Auster. Dir: Robert Siodmak. Scr: Arthur T. Horman and Bertram Millhauser. Ph: Paul Ivano. Cast: Charles Laughton, Ella Raines, Molly Lamont, Stanley Ridges, Henry Daniell. Sweet Smell of Success UA 1957. Prod: James Hill. Dir: Alexander MacKendrick. Scr: Clifford Odets, adapted by Ernest Lehman; from the short story “Tell Me About it Tomorrow” by Ernest Lehman. Ph: James Wong Howe. Cast: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Sam Levene. Tension MGM 1950. Prod: Robert Sisk. Dir: John Berry. Scr: Allen Rivkin; from an unpublished story by John Klorer. Ph: Harry Stradling. Cast: Richard Basehart, Audrey Totter, Cyd Charisse, Barry Sullivan, Lloyd Gough. 457
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Joaquim da Silva Universidade de Av
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To Antonio, who made this possible.
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Acknowledgements This long journey
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Finally, I owe a huge debt of grati
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keywords abstract Film Noir, genre,
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2 Social and Political Influences o
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2.4 Joseph H. Lewis................
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Figure 42. Force of Evil ..........
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I. Introduction: Paving the Way for
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term that the film industry itself
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about which films themselves consti
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also, in the films’ fundamental n
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American films after the Nazi occup
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we also find a disruption of the wo
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oth in these French productions of
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Hollywood feature films but it did
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throughout this work); and c) to di
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odies, or as killers and crooks, bu
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these films was to confer on them a
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writer, director, producer, and art
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cinema does not have the power of
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Before working on The Dark Mirror,
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y taking it “from the outside.”
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and many, if not most, films would
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1.1.1 Dashiell Hammett In 1929, Das
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tough appearance, by their occupati
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Apart from “The Continental Op”
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unsettling when for example shootin
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1.1.2 Raymond Chandler Raymond Chan
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Figure 4. The Big Sleep the chaotic
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eleased to the big screen by MGM wi
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most fastidious visions of London i
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hometowns and move into bigger citi
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Double Indemnity started the trend
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has happened, but, as if hypnotized
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destructive, or used by stronger wo
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Tomorrow Goodbye (1950) into a noir
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Home (1937) - were two living proof
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which collapses the distinction bet
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Figure 10. Deadline at Dawn Alex’
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1.1.6 William Riley Burnett Another
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Figure 11. High Sierra The Asphalt
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1.1.7 Conclusions What made the det
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fiction managed to provide for a de
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escalation in illegal drinking plac
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Ben Hecht story and despite being p
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Mercy! Is this the end of Rico?”
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The third originating gangster movi
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part of the recurrent patterns of v
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protagonist of Edgar Ulmer’s Deto
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exemplify in Part III (“Space and
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1.3 The Gothic Romance 87 And trave
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titlecard when the film opens alert
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In Rebecca the beautiful, desirable
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forties. Thematically, the represen
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To complicate this matter further,
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trampled under by war and revolutio
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he says, when Expressionism ended,
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These early Expressionist films, wi
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student, Balduin (Paul Wegener hims
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(Tragedy of the Street, 1927, aka W
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plots with calculating precision. G
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perverted and neurotic sex murderer
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1.5 French Poetic Realism Poetic Re
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(Michèle Morgan), whose godfather
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strikingly atmospheric view of the
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Jean Paulhan, editor of La Nouvelle
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Julien Duvivier’s Pépé Le Moko
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the combination of lighting effects
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peculiar expressionistic lighting a
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Figure 28. Son of Frankenstein This
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Figure 29. Murders in the Rue Morgu
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alienation mixed with nuanced perfo
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2 Social and Political Influences o
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Liberal reforms soon became a spuri
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Polonsky, Jules Dassin, and Edward
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which are themselves historical eve
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Production Code Administration. Thi
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In this particular case, one can se
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Neff: Will you be here too? Phyllis
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against any possible theft of groce
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2.3 Postwar Readjustment If the moo
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In this group of films, the bleak a
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explain, these noir heroes of the f
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(Gilda, White Heat, Scarlet Street,
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seething excitations” and adds th
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Romanticism present at the very hea
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to persist and overcome difficultie
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III. Noir Thematics 1 Essential Ele
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its modernist sensibility, enabled
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Wyatt), cooks breakfast, domestic r
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structures of constituted authority
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1.2 Space and the Noir City Film no
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other people and developing a calcu
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I am the city. Hub and heart of Ame
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1.3 Trouble With Girls: The Femme F
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intelligent and powerful, if destru
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significant discussion of film noir
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Nevertheless, the message is quite
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Another example of the evolution of
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deceiving women. Like many of their
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Either as a femme fatale or an homm
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1.5 Dazed and Confused: The Voiceov
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an impersonal “you” giving the
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of war veterans who, unfolding thei
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1.6 Noir Atmospherics: Cinematograp
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John Alton’s highly stylised phot
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Figure 41. Stranger on the Third Fl
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indoctrination in the movie in the
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in the popular imagination. While t
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1.7 Sounds of the City: Jazz Soundt
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music, combines with images of patr
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Figure 45. Out of the Past Non-dieg
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ealm of near-explicit sexual metaph
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the two, affirming that “Jazz is
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City, Paramount’s Union Station a
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In my analysis of The Big Combo in
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Consequently, in the fifties, we st
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2 Noir and the Film Auteur 2.1 Aute
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noticeably the case, for example, w
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point out the fact that it is only
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elationship to the way a director t
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2.1.1 Billy Wilder Billy Wilder pla
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performance is full of understated
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Figure 54. Sunset Boulevard Wilder
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Figure 55. Ace in the Hole All of B
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2.1.2 Orson Welles He may have only
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For example, in the scene above (fi
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As Leo Braudy in The World in a Fra
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slanting compositions, and brillian
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2.1.3 Otto Preminger Austrian film
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plans, June still shows her love fo
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Figure 61. Where the Sidewalk Ends
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project my viewpoint on the audienc
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postulated as the “doctrine of si
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pouvait espérer sortir de la déno
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I am at the barber's, and a copy of
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certain community, our subjective r
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interpretant” (Stam 1992:6). Here
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The notion of “text” as a disco
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only agree that these disciplines s
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2 The Universe of Motifs and Symbol
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Andrew Sarris once wrote that “If
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exception to this rule, his movies
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independent production companies in
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Figure 66. Double Indemnity In the
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Figure 67. Scarlet Street The symbo
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contorted Expressionistic grimace,
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Figure 70. Metropolis The clock mot
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Figure 71. Strangers on a Train The
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“When I was young I wanted to be
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themselves in the projection of inn
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woman in the portrait throughout I
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scenes as the attachment is purely
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(namely The Spiral Staircase and Ou
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Chris meets by accident, is a hellc
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2.1.1.4 Conclusion All in all, ther
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Question: Scarlet Street had the sa
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an accepted and well-known screenwr
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Siodmak’s next two films for Univ
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money from Dundee. A more harrowing
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2.2.1 The Spiral Staircase (1946) a
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here increased by the unsteady blac
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Figure 83. The Spiral Staircase Thi
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Warren, making either of them the p
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2.2.1.2 The “Optical Unconscious
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camera is expressive, as it informs
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ordering” - appears to match this
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eyewitness, but at the same time, a
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Figure 87. The Spiral Staircase Bas
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While Cross implicitly acknowledges
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Figure 89. Affair in Trinidad Other
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However, much of this iconography t
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long, wooden staircase while trying
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Figure 93. The Spiral Staircase Fig
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of Nathaniel Hawthorne’s “The B
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almost part of a game, emphasising
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2.3 Jacques Tourneur Born in Paris
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a laughing audience), and broken la
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violent mishaps could have led to h
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writers like Dashiell Hammett (who,
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Chuck Tatum, a cynical, frustrated
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on, Ann, who represents his hope fo
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This kind of temporal manipulation
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ought forward by the characters of
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found Kathie: “I was glad it was
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Figure 102. Out of the Past In this
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Figure 104. The Lady from Shanghai
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Jeff: Give him time. Kathie: You ar
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Figure 106. Out of the Past The sce
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Gun Crazy, a barrage of police gunf
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2.4 Joseph H. Lewis Considered as a
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untold storied of ordinary men and
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through windows, to provide the ind
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2.4.1 The Big Combo (1955) and the
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of most noir films including The Bi
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2.4.1.1 “First is First and Secon
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In The Big Combo the unconscious tr
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It is not only in terms of narrativ
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Although the idea is not to go into
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Figure 113. Scarlet Street Neff’s
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2.4.1.2 The Big Combo and Generic T
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and knowing they are both surrounde
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As the noir movement entered the la
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V. Conclusions: 1 Genre Revisited T
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on social aspects through a dramati
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Buscombe is right: if we take a gen
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constructions that make it difficul
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Such factors have been scrutinised
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Thematically, noir films as a group
Page 421 and 422: While enforcement of the Production
Page 423 and 424: are “as often nihilistic, cynical
Page 425 and 426: which is normally not associated wi
Page 427 and 428: morality brought about by these noi
Page 429 and 430: It is within this cinematic and cri
Page 431 and 432: ____________ (1994). The Semiotic C
Page 433 and 434: ____________ (1992b). Farewell, My
Page 435 and 436: E Easthope, Antony (1993). Contempo
Page 437 and 438: Greenberg, Joel & Higham, Charles (
Page 439 and 440: James, David E. (2005). The Most Ty
Page 441 and 442: Malkiewicz, Kris (1986). Film Light
Page 443 and 444: N Naremore, James (1978). The Magic
Page 445 and 446: Polan, Dana (1986). Power and Paran
Page 447 and 448: ____________ (2006). Ava Gardner:
Page 449 and 450: Sullivan, Ellie (1986). Jacques Lac
Page 451 and 452: Wilson, Edmund (1962). Classics and
Page 453 and 454: Appendix I: Annotated Filmography T
Page 455 and 456: Beware, My Lovely RKO 1952. Prod: C
Page 457 and 458: Christmas Holiday Univ 1944. Prod:
Page 459 and 460: Dark Corner, The Fox 1946. Prod: Fr
Page 461 and 462: Framed Col 1947. Prod: Jules Schern
Page 463 and 464: House on 92 nd Street, The Fox 1945
Page 465 and 466: Killing, The UA 1956. Prod: James B
Page 467 and 468: Mildred Pierce WB 1945. Prod: Jerry
Page 469 and 470: One Way Street Univ 1950. Prod: Leo
Page 471: Repeat Performance EL 1947. Prod: A
Page 475 and 476: Unsuspected, The WB 1947. Prod: Cha
Page 477 and 478: B) Other Relevant Filmography The f
Page 479 and 480: Last Laugh, The ScreenSound 1924. P
Page 481 and 482: Appendix II The Motion Picture P
Page 483 and 484: VIII. Religion 1. No film or episod
Page 485 and 486: B. By reason of the mobility of fil
Page 487 and 488: Reasons Underlying the Particular A
Page 489 and 490: VIII. Religion The reason why minis
Page 491 and 492: 146, 152, 186, 192, 229, 250, 298,
Page 493 and 494: high-contrast, 11, 46, 172 Highway
Page 495 and 496: 350, 352, 353, 354, 356, 357, 359,
Page 497: Walsh, Raoul, 56, 57, 66, 73, 223,
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