By William Marling

Film Noir ("dark film") refers to a genre of movies that employ hard-boiled protagonists, urban settings, dark tones, and a sense of despair. Most of these movies date from the period of 1940 to 1960 and share similar techniques and styles. The term owes to two Frenchmen, Nino Frank and Jean-Pierre Chartier. These critics were prevented by World War II from seeing The Maltese Falcon, Laura, Farewell, My Lovely; Double Indemnity, and The Woman in the Window, all of which appeared on Paris screens in 1946. Frank claimed that these movies were a new genre, distinct from the preceding crime movies. Chartier found them as dark as the French movies Pepe le Moko (1937) and Quai des Brumes (1938). They both wrote reviews, and Chartier's comment stuck: "Les Americains aussi font les films noirs" ("The Americans are also making dark films"). (Right: Jean Gabin as Pepe, 1936)

When Raymond Borde and Etienne Chaumeton wrote their pioneering Panorama du Film Noir (1955), they referred to the "sources" of film noir in American hard-boiled writers Hammett, Cain, Burnett, and Chandler. 1 In subsequent decades, however, the origins and definition of film noir have been much debated. Movie historians point out that movies are a different medium, influenced by other movies, such as the crime movie genre. The European expressionist movement in art also affected movies, as did technological advances and economic history, such as the Depression.

All scholars agree, however, that by 1945 film noir had its own style and themes, both of which were distinctly American. The concept of film noir employed in this chapter is narrow, excluding most of the crime movies on which film noir is based, as well as thrillers by Alfred Hitchcock and comedies such as The Thin Man series based on Hammett's novels.

Detectives had appeared in silent movies early, but they did not catch on. The first Sherlock Holmes movies appeared in 1903, and there were "Nick Carter" movies made in France from 1909 onward. Police detective "Bulldog Drummond" appeared in movies in 1922, the year that the famous actor John Barrymore first played Holmes. One problem was that the detective story's plot required many sub-titles and more complicated camera-work than melodramas. By contrast, audiences liked melodramas, they were easy to make, and they paid well. In the United States, the plot-driven detective movie soon gave way to farce. The police became the subjects of satire in Max Sennett's enormously popular Keystone Kops comedies. For the ancestors of the hard-boiled film, we must look to a genre known as "crime movies." Film historians usually link crime movies to D. W. Griffith's pioneering "slum melodramas" of the silent era. These were fifteen minute, one-reel movies that helped to make poverty and social reform into issues during the Progressive Era (1890-1915). Griffith shot A Child of the Ghetto and The Lily of the Tenements in 1910 and at least six others in 1911. His most famous was The Musketeers of Pig Alley (1912), which featured pimps, drugs, gangs, and a shoot-out. There were even movies about white slavery, such as Traffic in Souls (1913), and drug addiction: For His Son (1913), The Devil's Needle (1916). (continue)

Crime fiction sources of film noir

By William Marling

It is often noted that American film noir owes a deep debt to writers such as Dashiell Hammett and Raymond Chandler, who appeared in the pulp magazine Black Mask. The problem with this genealogy is that Black Mask was part of a complex national response to crime that was continually evolving. Those writers and that magazine were important (and are treated below), but a richer understanding of noir narrative would begin with newspapermen such as Jack Lait, Ben Hecht, and William R. Burnett, who chronicled the rise of Al Capone.  These authors were prominent in creating the ‘mass public’ for the later emergence of noir narrative. Before 1930 ‘the causes of crime were not elucidated,’ as Andrew Bergman notes, ‘because there seemed little point to it. Crime was a life style, a way of existing in the world.’ Explanations would come later, as crime itself and the audiences for narrative about it changed. After the initial public for crime narrative formed, there were three successive ‘counter publics,’ each focusing and refining characteristics of its antecedent. (continue)

Andrew Bergman, We’re in the Money (New York: Harper, 1971), p. 16.

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