Just Finished Reading: Film Noir – A Very Short Introduction by James Naremore (FP: 2019)

Of course it was the French who started it all. Well, at least they named it. With the end of WW2 American movies flooded into once occupied Europe wowing audiences across the continent. The French, always eager to true something new, something stylish, something ‘Avant guard’ lapped up the dark brooding crime films they began calling Film Noir. As with many of these movements the now classic examples of the genre were not so classified at the time they were being made. Only much later, when the Noir style was recognised for what it was, were films seen as ‘Noir-ish’ from their inception.

But even though a Noir film could be recognised and called so the definitions of what exactly made up the genre where fluid – especially at the edges. Most film critics agreed on much of the core cannon of films but there was much disagreement regarding films that had some elements of Noir but not others. Sometimes it was as simple as asking if a Noir film should necessarily be in Black and White? The golden age of Noir, according to received wisdom, ended with the advent of colour. Then there were the genre crossovers or boundary films. Could you have a Noir Western? Are films like Bladerunner a Noir film or is it a homage or pastiche of Noir sensibilities grafted onto a Sci-Fi motif. Unfortunately these and many other similar questions cannot be definitely laid to rest.

Noir itself was an outgrowth of multiple paths: there was the hardboiled detective novels of the 1920’s, 30’s and 40’s the authors of which gravitated to Hollywood to boost their limited incomes and who gave the movies they worked on (not necessarily an adaptation of their own work) a certain cache, then there was the flight of directors and cinematographers fleeing from Nazi Germany and bringing with them the Avant-guard and Surrealist film making techniques that made the products so intriguing to watch in post-war French movie houses.

Of course the Noir sensibility didn’t end with the beginning of colour nor with the advances in lighting techniques (especially outside the studio and at night). Noir is, first and foremost, a way of seeing the world – both from inside the characters head and from outside via the audience. Noir is certainly a style but it is more than that. It is an attitude, a philosophical stand, a mind-set. That is why, decades after the sheen of the golden age has faded, Noir films are still being made and are still being discussed in critical circles. Just like the Night and the City (to say nothing of the eternal Femme Fatal) Noir will always be with us.

This was a delightful little book aimed directly at one of my all-time favourite things – Film Noir. I’m not entirely sure why I like this movie genre so much but I most definitely do. Even bad Noir (and Noir has more than its fair share of bad examples) has flashes of dark brilliance. The best of the genre continues to blow me away after multiple viewings. It either says much about the human condition or much about how I see the world. Whatever the truth of it Noir is probably my second movie love – with only SF holding it away from the top slot. Of course the rare combination of the two just sends me….. Long live Noir. Definitely recommended for all Noir fans, both casual and dedicated.