french postcards

I’m freshly back from the Quais du Polar, a crime fiction and film festival in Lyon, France. The entire time, glued to the side of my wonderful French editor, Marie-Caroline Aubert (a glorious redhead who was once the translator of no less than Donald Westlake), I felt too lucky by half.  Which I was.

Trust me: to say I felt more than a little like an imposter is not false modesty. In every room, I knew far less than everyone else. After all, the French know noir. I had to keep my game on for conversations well into the night about Dashiell Hammett’s The Glass Key, Philip Marlowe and Terry Lennox’s complicated romance in Raymond Chandler’s The Long Goodbye, the particular genius of Deadwood and why I must see the 1971 movie Vanishing Point. Much like a Frenchier, larger version of NoirCon.  (Thankfully, my knowledge of Rip Torn apparently did exceed everyone else’s.)

Perhaps the highlight of the visit for me–other than a new appreciation for what felt like 24-hour wine drinking–was a trip to the Institut Lumiere (English here), a museum, archive and theater dedicated to preserving and celebrating French filmmaking, with special focus on Auguste and Louis Lumière – inventors of the cinematography and among the very first filmmakers. As part of the Quais du Polar, they were screening films noirs and I introduced The Big Heat, Fritz Lang’s nasty 1953 movie starring Glenn Ford as an honest cop and Gloria Grahame as the “kept woman” of a vile gangster (memorably played by Lee Marvin).

I admit, while I always liked The Big Heat, it was never in my upper pantheon, though its female star, Gloria Grahame, is indisputably my favorite noir actress, occupying a powerful position in my imagination. No slithery Ava Gardner vixen, no ethereal beauty like Gene Tierney, she is more minx than siren, more pixie than femme fatale. And yet. And yet she is a crackling presence, a hot, messy, complicated one. There’s just no one like her.

Somehow, she seems to embody everything I love about the genre—its heady, sticky mix of desire and rage, sordidness and yearning, the aching sense that something went wrong somewhere and now there’s no saving us.

On the one hand, tucked in that pouty lip of hers, curled in that slippery, cooing voice lies all the genre’s fleshy pleasures.

On the other hand, in that haunting way her face can arrest itself, her body skittering into itself to protect itself, lies all the heartbreak of the genre. She carries them both: lust and loss, shallowness and depth.

So, in preparation, I rewatched the movie. And I’m so glad I did. It felt like a different movie than the one I’d remembered as a well-done but rancid bit of ’50s noir thuggery. I’d missed all its complexities, and much of its, well, beauty. [Potential spoilers ahead]

First, it’s a movie populated by interesting women—strong, even brittle, experienced yet perpetual victims. Victims of their own sense of inutility (their worth seems only to be defined by their smooth, shiny surface).

But victims most of all the peerless brutality of the men around them. And I’m not just talking about the “bad guys.” The hero, Glenn Ford’s, carelessness with his wife echoes of the more obviously cruelties of the thugs in the film—over and over again, fire destroys women in this movie, fires ignited by men.

As some critics have pointed out, The Big Heat upturns the classic noir paradigm of the femme fatale enticing men to their death. Here, driven by his complicated mix of knightly ideals and dangerous masculine bravado, Ford is the fatal man, responsible in part for the destruction of every woman in the film.

But I will admit, my largest pleasures in the film are not analytical ones. They’re visceral. When I first saw The Big Heat as a young girl, the thing in it that mattered most was the gleaming sight of Gloria Grahame in her mink.

The creamy pelted garment becomes a key motif in the film. Late in the story, Grahame tells a fellow fur-cloaked woman,  “We’re sisters under the mink.”

The mink coat signifies prestige, material success. But also a kind of animalism, and a kind of enslavement. The mink comes to mean everything, and risks swallowing Grahame whole.

Midway through the film, all the characters converge at a nightclub called The Retreat. It’s a pivotal moment, when Grahame makes a key choice, a brave one.

The Retreat, Gloria at right.

What strikes me most about the scene is the way Grahame, perched on a bar stool, wears her mink, casually draped off her lovely white shoulders. It seems to drip off her, skating across her pearly arms. She wears the mink not like a skin, but merely something she’s trying on, part-way, because she feels she should, but it just might slip off at any moment so she can reveal the real Grahame beneath.

In a scene late in the film, when Gloria has risked her skin for the greater good and is taking charge, she wears the coat tightly bound, clasped at the neck. The fur has become hers now, and she wears it like a powerful armor

Gloria Grahame’s personal life was often chaotic and mostly unhappy. She brings those shadows to all her characters, and the yearning too. We see that here. It makes us yearn for her, on her behalf.

In the film’s most famous scene, Grahame’s shiny surface is ruined forever—but, when writing the introduction, I started to think about it instead as a purification, a baptism. After, she is transformed, born again. In a genre supposedly without heroes, she is a hero.

Luscious Collisions: the third of three reflections on noir

In the previous two posts I’ve enumerated some of the principal characteristics of noir, and maintained that if we approach these films with an open mind and a supple methodology we can’t help but see how consistently and self-consciously noir demonstrates these characteristics.

To recap some of the salient points from those posts (and build upon them), films noir often stage tribute shots to one another in ways that simultaneously reinforce the visual style and reflect upon it: these careful framings of frames generate narrative action and a de facto critical commentary upon that action.  Likewise, these films often stage the collapse and collusion of the narrative and the extra-narrative in ways that similarly constitute critical self-reading (what I’ve referred to as auto-exegesis).  We’ve discussed that tendency in terms of the death of Welles’s Quinlan in Touch of Evil (and, we might point out, the death of noir more generally: it’s not an accident that film starts with an explosion and then precedes to blow apart all our expectations about noir (nor is it any wonder, then, that most consider it the last noir of noir’s classic period)).  We could likewise point to the ways Sunset Blvd. turns itself, the movie business and Hollywood history inside out.  Examples of such self-reflexive moments abound in noir, and if we aren’t hip to them, we’ll find our own critical reflections have already been “plagiarized by anticipation” by the films themselves (for more on the term “self-reflexive”, see the comment thread to my first post below).

If that is the narratology of noir, its philosophy is something else.  While noir is consistently playful in the former arena, it is most often deadly serious in the later (though it can be comically serious, as in the case of the poodle breaks Johnny Clay’s will in The Killing, or the monkey funeral that fundamentally alters Joe Gillis’s lot in Sunset Blvd.).  In yesterday’s post I explored noir’s surprisingly consistent world view, maintaining that noir is a particular form of absurdist existentialism, wherein noir players come to understand both their own complicity in the crime (sometimes the bigger Crime, existence itself) and the absurdity of their action as part of their inability to remain inactive.

Now I’d like to briefly consider what all this allows noir to do. What comes of these postulates?  What are the resultants of such an equation?

If we understand noir only as a visual style, as so many have, we will see that it spread out quickly but thinly on the surface of other contemporary films styles—covering them with a superficial darkness.  Those noir-stained films have not, generally speaking, endured.  Yet those are the films scholars will point to if they’re interested in saying noir is just a style (not a genre, not something more).  Those are the films that have allowed some scholars, interested in seeing noir as a short-lived and easily containable mid-century phenomenon, to say just that.  And those are the trappings of style that made noir an easy target of parody in film and literature, from the forties onward.

But if we think about noir as a substantial and nuanced philosophical position, and a film style that has an uncommon ability to allow filmmakers to reflect upon their stories and the means they use to tell them (uncommon because such gestures are fundamentally a part of noir, and need not feel like an obtrusive aside), then we see that noir served as a narrative, technical, philosophical template for a wide variety of films, and continues to do so today.

Directors with an understanding of these more substantial characteristics of noir have been able to make substantially noir films out of material that by all appearances should have little to do with the noir universe: science fiction tales of human “replicants” in a high-tec future (Blade Runner); high school melodramas set in a contemporary Los Angeles where teenagers speak like 1930s gangsters (Brick); a case focused (if focused on anything at all) on a cheap rug purloined from an unemployed surfer Dude (The Big Lebowski).  When directors drill deep into noir’s philosophical foundations, and build upon them with appropriately self-conscious pilferings from noir’s visual library, the result is a series of truly luscious collisions.

Not surprisingly, we first see these more substantial neo-noir experiments in France—in the work of exiled American directors such as Jules Dassin (think Rififi), then in the New Wave.  This trend then boomerangs back to America, in even quirkier but no less noir experiments such as those I’ve highlighted above.  Clearly, such profoundly noir neo-noir experiments have erupted in other places and other genres, and I hope readers of this post will give their own thoughts on titles that should be added to this list (and why).  But it seems to me, in ways that I’m still trying to understand, that the history of noir—and certainly the history of understanding noir—is a Franco-American affair.

In this spirit of ongoing investigation, and in the interest of opening that investigation to a larger public, I would like to conclude by offering up one more of the insights into noir that Richard Edwards and I articulated in the course of our podcasts.  It is rudimentary by comparison to the others I’ve appended to my posts, but it is one that constituted an important early insight into some of the themes I’ve explored above (and continue to explore):

~ Luscious Collisions

Despite its reputation as an American film style, noir owes a great deal to German émigré directors: Fritz Lang, Robert Siodmak, and Otto Preminger came over to America with a European sensibility, and changed the way Hollywood told the hard-boiled stories.  In the making of Rififi, we get the reverse trajectory—a Hollywood filmmaker, Jules Dassin, working in France due to the Blacklist in the United States, bringing with him the American attitude, in order to make an American-style, hard-boiled film within the French film industry.  The result is a film full of luscious collisions.  –Richard Edwards

There’s no greater such collision than a scene in a nightclub when Viviane (Magali Noël), the club’s singer, performs a song that explains what “rififi” means.  As she’s singing, there’s a screen in the background onto which is projected an image of a cobblestone street, and behind the screen is a man in a suit with a hat and a cigarette in his mouth dancing an interpretive dance that acts out the action of the lyric of her song. It’s hard to imagine an American noir would ever contain a scene—and it’s a crucial scene to the film—with an interpretive dance that acts out a definition of a slang term that is the title of the film. A truly luscious collision, and the highly stylized vision of noir that will prove crucial to French crime directors such as Godard.  Indeed, it’s hard to imagine Breathless without a precedent like Jules Dassin’s Rififi. –Shannon Clute

“I made a mistake, once”: The second of three reflections on noir

The noir universe is often considered to be fatalistic, or more broadly nihilistic.  I believe it is more accurate to see that world as existentialist, for a simple reason that has vast implications: to be fatalistic is to accept one’s situation; to be existentialist is to recognize how one’s agency has created one’s situation.  It may sound like a razor-fine distinction, but the thinnest blades cut the deepest.

When we first feast our eyes on the abundant misery of noir’s drama, we see broken players, or players bending until they break.  For reasons I addressed in Tuesday’s post, we can’t help but revel in the particular pains of noir.  But over time that revelry would create a real hangover if there were no other nuances that kept us coming back.  Two of those I discussed already: noir’s overt self-consciousness and its deeply quirky, highly self-referential humor.

To these we must add a particular philosophical stance—one that is, once again, marked by profound self-awareness.  It is what distinguishes noir from westerns, war films, and straight domestic melodramas.  It is likely what made this dark body of films resonate so deeply with American viewers in the wartime and immediate post-war years.  Granted, it was easy for most to recognize they weren’t living the Technicolor suburban dream Hollywood was starting to feed them, and that alone might explain some of noir’s popularity .  But in the wake of two wars that scarred the world forever, everyone was feeling some measure of guilt.  Everyone felt complicit.  Noir let them suffer, and go on, in ways they felt they should.

A lot has been made of noir as a visual style—an outgrowth German Expressionism and French Poetic Realism, once immigrated.  These are compelling arguments that any fan of noir should explore.  Less has been made, by film scholars at least, of the equal contribution of American hard-boiled writing to the creation of noir.  That is a lacuna that must be filled, and one we have often addressed in our “Out of the Past: Investigating Film Noir” podcasts.  The types of stories noir told, the idiom in which it told them, the characters that populated these stories—they were all distinctly American.  German Expressionism was just that until it ran smack into the pulpy world of mid-century America.

But in that collision was an alchemy that created a hitherto unknown essence, at once ethereal and very worldly (for more on the alchemical moment of collision, see the entry on The Killers at the bottom of this post).  I would maintain it is the very essence of noir.  It is noir’s philosophy, and it is surprisingly fleshed out, surprisingly nuanced.

For want of a better term, I have called it existentialist.  That’s a fairly descriptive term, as long as we understand what branch of existentialism we’re discussing.  In noir I don’t see Kierkegaard or Nietzsche or Heidegger.  I see something closer to Sartre and closest to Camus, and it’s probably no wonder French critics were the first to see coherence in this dark body of works coming out of Hollywood at the time, and to give it a name—film noir (a term they coined, we must remember, because of the well known imprint from Gallimard called Série Noire, which specialized in hard-boiled American fiction).

That brand of existentialism is unique for many reasons, but two seem particularly relevant to noir.  The first is Sartre’s explicit dictum “Existence precedes essence” (to paraphrase somewhat selectively and recklessly, nothing is anything before it takes action).  The second is the concept of the “absurde,” best articulated by Camus in his essay The Myth of Sisyphus.  I like to think of Camus’s absurd as purposeful action in the face of meaninglessness, a recognition of the importance of one’s own agency in the act of ultimately changing nothing.

That, to me, is noir.  It is what keeps us from pitying noir heros who ultimately can’t change the world.  It’s what makes us love the scoundrels whose greatest virtue is to keep being scoundrels.  It is why femmes fatales don’t strike us as simply immoral, but as somehow determined and admirable in their recklessness.

I should say at this point that Richard Edwards and I, in our podcasts and in the book that those inspired (The Maltese Touch of Evil: Film Noir and Potential Criticism, forthcoming from UPNE in the fall, as Megan was kind enough to mention), have studiously avoided the question of what “is” and what “is not” noir.  This leads us down the path of debating style versus genre, of establishing a noir canon, and so on—well worn paths in the world of noir studies that at this point have little potential to reveal new information about noir, or help us achieve new understandings.  But because this is a blog, and blog musings are by definition rather personal, I’ll step away from my co-investigator for just a moment and offer this contentious musing.

He Walked by Night

To my mind, films that don’t evince the philosophical stance above don’t ultimately feel very noir.  These would include, above all, any films where a character set up to be a moral force within the film counterbalances or corrects the agency of a character set up to be flawed: films gris such as The Big Heat; noir-styled westerns such as Blood on the Moon or The Naked Spur; noir-styled war films such as The Third Man (which unabashedly “borrows” John Alton’s sewer scene from He Walked by Night for its own climax)—none of them are, to my mind, truly or fully films noirs.  They have all the trappings.  They may even have the proper measure of misery.  But something is amiss.

The Third Man

In the films that strike me as most fully noir, protagonists recognize their mistake.  That doesn’t mean they give up, or turn themselves in (in fact, they usually go down swinging).  But they come to understand both their own complicity in the crime (sometimes the bigger Crime, existence itself) and the absurdity of their action as part of their inability to remain inactive.   They know they will be punished, but damn it, it won’t be by something as inconsequential as another person representing order or good.  It may be Law itself, or Fate, or Desire—forces we can only understand in caps, even if they occasionally appear in an embodied form—but nothing as small as just a man or woman.

Here’s an example of what I mean, drawn from a podcast conversation Rich and I had in which we began to formulate some of the thoughts I’ve expressed above:

~ A Frenchman’s Question and The Swede’s American Answer

The Killers

Near the beginning of The Killers, Nick (Phil Brown) runs to tell The Swede (Burt Lancaster) two men are coming to kill him.  The Swede says there’s nothing he can do about it.  Nick asks, “Couldn’t you get out of town?”  The Swede answers, “No.  I’m through with all that running around.”  What we see at play in this exchange is the fundamental question of the post-war era—the question Camus poses in his 1940 essay The Myth of Sisyphus: “There is but one serious philosophical problem, and that is suicide.  Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy.” In the Hemingway story that is the source material for The Killers, the only physical detail we have of The Swede, besides him being an ex-heavyweight who’s too long for his bed, is that he has a mashed-up face.  In a film, of course, we can’t have a protagonist with a mashed up face, for he has to have leading man good looks.  But as The Swede is gunned down and lays dying in his bed, he reaches up with his right hand to grasp the bed frame, and what we see is a prominent scar on his hand.  This is a very different sort of scar, because it doesn’t indicate that he has taken a beating.  It would seem to indicate that he has given a beating, that he has gone down fighting; and yet, he doesn’t go down fighting.   The Killers examines the story behind the scar The Swede bears; it is the story of the reasons for his decision not to fight any longer. –Shannon Clute

Sisyphus

The film’s action alternates between present moments in which insurance investigator Jim Reardon (Edmond O’Brien) tries to discover what happened to Ole Andersen, aka The Swede, and moments in The Swede’s past.  The film underscores the centrality of the question of suicide by making it an early plot point, and Reardon begins to really get interested in The Swede’s story when he realizes that the beneficiary of The Swede’s life insurance policy is a person who prevented his earlier attempt at suicide years before.  So the central thrust of the film is an investigation into what propels Ole to continue, or to give up.  In the post-war years, this really is analogous to the Sisyphean question.  Why does the Greek myth of Sisyphus exist?  The fate of Sisyphus, which most philosophers read as a very negative existence, is that he is doomed for all eternity to roll the rock up the hill without ever completing his task; just before he can push the rock over the top, it comes bounding back down Camus, writing from an Existentialist perspective, has an interesting take on this myth, which I think Siodmak shares.  Rather than focusing on the moment when the rock rolls down the hill, both pay attention to the instant at which Sisyphus decides to go back down the hill to get started over again—or in The Swedes case, decides not to. –Richard Edwards

This is the key part of Camus’s argument.  The absurde allows us to recognize, in the words of Camus, that “Our solitary effort, our day to day revolt, gives proof of the only truth.  Which is defiance.”  And so it’s at the moment that Sisyphus turns and looks back down at the rock that has crashed to the plains below, and decides to take that first step back down to retrieve it, that he becomes greater than his fate.  With this action, Fate is to some degree undermined.  Ole Andersen finally gets to a point where he’s just too tired to take that step. –Shannon Clute

A poodle on the tarmac: The first of three reflections on noir

The Killing (dir. Stanley Kubrick)

Granted, there are the shadows: the men lurking beneath fedoras, their faces split by darkness like their psyches; the women flickering like a candle’s flame against a black world, all warm glow and deadly heat.  (You know them so well they feel almost like family; like sweet Uncle Charlie, you invite them in, and realize too late they’ve concocted a makeshift gas chamber in your garage and they’re trying to off your kids.)  But there are also thieves dressed like children dressing up like cowboys, putting a bullet through a gumball machine just to show they mean business.  And there are poodles on the tarmac.

Noir is a world of dark streets, but it is also a world of absurdity and humor. To speak of the one without the other is to see half the picture: it is to see the shadow beneath the fedora but not the light, to see the torch singer’s danger but not feel her warmth.  It is to assume noir is as dark as we seem to want it to be, rather than to see it as it is.

We are drawn to noir because we want to feel bad, and noir let’s us do that—beautifully.  Never was heartbreak so heartfelt.  Never was danger so charged.  But we return to noir because it makes us feel something more.  Maybe that something is a sense of optimism (that sort of hope that can only arise from the lowest muck).  Maybe it is an existential laugh, bitter but meaningful because it is born at the moment we have nothing left to hope for or to fear.

I remember when I started to see both sides of noir.  It was a sun-drenched spring day in Moraga, California, on the campus of Saint Mary’s College.  The Japanese cherry trees were in blossom.  The whitewashed walls of the chapel shone impossibly bright against the emerald green hillsides.   I would say we stood in the shadow of that imposing chapel, but I don’t recall there being any shadow that day.

I was chatting with my friend and colleague Richard Edwards, a professor of film and new media, about our shared love of noir.  We did the sort of sparring academics do before having real conversations (and academic conversation usually stops at sparring): we offered each other a series of platitudes about noir cinematography and lighting, about German Expressionism and French poetic realism, about Siodmak and Tourneur and Wilder, about Chandler and Cain.  Little by little, it became a real conversation, and before we knew it we were offering up thoughts on Peggy Cummins shooting the matches off John Dall’s head in Gun Crazy, on Humphrey Bogart rubbing his ear in The Big Sleep.  And why the hell (just what one has to wonder in the shadow of the chapel) hadn’t anyone found a way to talk about both in the same conversation and in a way that might matter—as fluidly as films noir themselves managed to do?

Peggy Cummins in Gun Crazy

Well, that did it.  Soon Richard and I were brainstorming, researching, talking.  And as you can probably guess by the length of this preamble, we’ve never stopped talking.  The result is a series of 50 (so far) podcasts on film noir (the Out of the Past: Investigating Film Noir series) and 28 conversations with authors of hard-boiled, mystery and suspense (the Behind the Black Mask: Mystery Writers Revealed podcasts).

These podcasts are our answer to the questions raised by that fateful conversation.  They are our attempt to create a new brand of noir studies that can account for the deadly serious and the wickedly humorous aspects of noir, that is fluid in its medium and methodology so it can swerve quickly when the poodle crosses the tarmac (as it does in Kubrick’s The Killing) and thereby end up in a new and unanticipated place.

The poodle on the tarmac (The Killing)

We have dubbed our critical medium the “serialized academic audiobook,” and believe that ours was the first academic film and literature analysis podcast.  But that matters about as much as what sort of car Uncle Charlie cranked up in the garage that day.  What matters is that it has helped us to see noir in a whole new light.

What we have come to appreciate is that noir hides nothing in the shadows.  In fact, it lays all the evidence out on the table, so plainly that it is easy to overlook—like Poe’s “Purloined Letter.”  As the career inspectors buzz all around it, peering in shadows, roughing up the gees and laying bare the dames, it still sits right before our eyes, unopened.

What is its secret?  What does that letter say?  Well, I’m not going to presume we’ve gotten that far in the investigation.  But what I can tell you is this.  Noir is trying to help us be better readers of noir, even if it doesn’t want to give up it’s ultimate secret (just as is true of Poe’s purloined letter, or Henry James’s figure in the carpet).

By keeping our eyes open to what we see in the films (rather than to what we want to see or expect to see), what we can’t help but see is that noir is an extremely self-conscious film style.  It stages tribute shots that constitute a critical commentary on—an “auto-exegesis” of—the film in which they appear (think of Emmerich’s descent of the staircase in The Asphalt Jungle vs. Mrs. Dietrichson’s in Double Indemnity), it stages visual and aural puns that demonstrate an awareness of how it is telling stories and at whose expense (think of the closing echo between the author and the protagonist at the end of Touch of Evil, or that same film’s multi-layered sign for viewers that hangs in the blind shopkeeper’s store: “If you are mean enough to steal from the blind, help yourself”).

Noir constantly frames its own evidence and offers it up.  If we fail to weigh the evidence as we watch, or if we are so bound to one method(ology) for investigating that we fail to see that certain clues are offered up with a wink and a nod, then we’ll find we’ve found little (and will only discover too late that the joke’s on us).

We don’t claim to have the answers.  But we would argue that we have to stay flexible in our approach to noir: we have to find a method that embraces the passion and encyclopedic knowledge of fan scholars without rejecting the insights that come from the close critical reading practices of academics.  And above all, we have to appreciate that noir has already laid the goods on the table.  If we don’t try and see the way it is framing stories about reading, then we’ll find we’re the saps in the story—outguessed and outgunned at every turn.

If you want to know what all this talk means in practical terms, we’d invite you to listen to our podcasts.  We also have a book coming out in the fall that gathers together some of the insights we’ve gleaned through podcasting.  It’s called the Maltese Touch of Evil: Film Noir and Potential Criticism.  Here’s an entry from that book that gives you a taste of what we see in noir:

Touch of Evil

Heston in Touch of Evil

~ The Slightest Separation

Touch of Evil can be seen as, above all, a meditation on filmmaking. The final sequence of “Mike” Vargas (Charlton Heston) trying to record the conversation between Sergeant Pete Menzies (Joseph Calleia) and corrupt Captain Hank Quinlan (Orson Welles), going through the muck and the oil rigs with a recording device, is ultimately a metaphor for filmmaking itself. On the set, these actors are being followed by filmmaking crews, and when Welles as Quinlan is standing on the bridge, and he hears the echo of the recording device, Welles the director is making a self-conscious pun on filmmaking. Welles knows the scene is actually double microphoned, because he is also recording the scene for us in the audience.  In the action and the mise en scène, he is exploiting these doublings and double entendres on every level in the final scenes of this film. –Richard Edwards

Ultimately the question is what options remain when a film becomes this self-reflexive? The self-conscious auteur of such a work has to write himself out of the picture in the end, for there is no where else to go.  The perfect moment of filmic punning, this double gesture both narrative and extra-narrative, is illustrated in the death of Quinlan. As Vargas follows them around, with a device to record their conversation, he gets closer and closer, until Quinlan hears a slightly delayed echo of his own voice from the device. In other words, the film stages the closing of the gap until there is just the slightest delay, the slightest separation in space and time, between Welles the director and Welles the actor, between the extra-narrative stuff of filmmaking and the narrative that is being constructed. At the moment these join, the auteur must die, and he right after he hears the slight echo of his own voice, Quinlan is killed. –Shannon Clute

last night’s spangles, yesterday’s pearls: meet Shannon…

Shannon Clute (left) and Richard Edwards

I first met Shannon at Bouchercon, the crime fiction convention, a few years back and discovered Out of the Past, his brilliant podcast with Richard Edwards—the two a dream duo, with Shannon’s intense, fluid mastery of theory and Richard’s vast and enriching knowledge of studio history.

A decade out of graduate school, I so missed the kind of endless ruminative and riveting conversations you can get in about movies in that environment, and listening to these podcasts about some of my favorite films—well, it was better than grad school because there need be no pretense that we do not LOVE these movies. Listening to each of these lush, dark melodies was both intoxicating and invigorating. (and you will be forever convinced by their recasting of It’s a Wonderful Life as a film noir).

More recently, I was thrilled to learn that the project has led to an upcoming book, The Maltese Touch of Evil: Film Noir and Potential Criticism, to be published by UPNE/ Dartmouth College Press this fall.

In 2006, Shannon’s novel, the Chandler-esque The Mint Condition was selected as one of ten semi-finalists in the Court TV “Next Great Crime Writer” contest. More recently, Shannon began working for Turner Classic Movies and, on March 17, he will make his on-air hosting debut, about which Shannon will have more to say. TCM is damn lucky to have him, and so are we. He’ll be with us all week, folks!

1. what is your greatest fear?

Never accomplishing anything worth remembering; conversely, spending so much time worrying about never accomplishing anything worth remembering that I neglect my friends and family.

2. what is your favorite way of spending time?

Really?  Just one favorite?  How about three?  Camping with my wife and daughter; hiking in hilly regions anywhere in the world (but especially upstate New York, the Colorado Rockies, the central Apennines in Tuscany, or the Ardennes in Belgium); and, before I gave up the bad habit, smoking a nice pipe and reading a good book on the back porch (preferably a Peterson 341 system pipe with a little McClelland Tastemaster, and a hard-boiled treasure of the ‘30s or ‘40s).

3. what is your most treasured possession?

I am clearly not hardwired for these sorts of questions.  How about I narrow it to three again? First, a roughly 40-acre plot of desert in the mountains of southern Colorado that my brother and I bought with our father’s life insurance money after he passed away; second, a pocket watch presented to my great grandfather after he returned to Glasgow to repay all his creditors (they allowed him to head to America to try and make good, despite the fact he owed them big bucks: he got a shipment of bad rubber to his boot factory, and unwittingly supplied the British Boer War troops with defective boots, thus bankrupting him); a very modern flatware set in a teak box that my grandmother bought while living in New York City in the ’30s.

4. when and where were you happiest?

At the birth of my daughter. (Finally, one I can answer definitively…though there have been plenty of other highlights.)

5. what is your greatest indulgence?

Now that I’m a parent, my greatest indulgence is getting up ungodly early each morning to take about an hour and a half all to myself to write (which I’m doing this very moment)

6. where would you like to live?

Oh, now you’ve done it!  You’ve asked the question that I spend most of my waking hours thinking about (for it is so tied up with every one of these other questions: isn’t happiness a perfect place to live? Isn’t is just bound to be the next place you move?)  Mind you, this depends not only on the season, but the day, the particular quality of light, the ambient humidity, the most recent careers I’ve read about, how badly I’m needing to exercise that day, etc.  There have been several strong contenders in recent years: Burlington, Vermont; Liège, Belgium; Doolin, Ireland; Ithaca, New York; Crestone, Colorado; Rome, Italy; Chadron, Nebraska; etc.  Unfortunately, the most honest answer may be, “Wherever I’m not.”

7. what is the quality you are most drawn to a person?

Honesty.

8. how would you like to die?

Instantaneously.

9. what is your secret superstition?

I do everything in multiples or divisors of eight (was this questionnaire designed to reveal madness, or is it just me?)

10. what was the best dream and worst nightmare you ever had?

Throughout my life I’ve had a nightmare that I’m working on an old fishing vessel—wind powered, riggings and all—when the boom swings around, knocks me on the back of the head and I go overboard.  My last vision is of the moonlight playing on the surface of the water far above, all around the shadow of the boat.  My best dream?  There have been too many great ones to name “the best.”  I guess I’m only consistent in my nightmares.

11. what song do you most hear in your head?

I always have music in my head, so this is tough.  Beethoven’s 9^th and the Winter movement of Vivaldi’s Four Seasons are there a lot (along with the slow parts of Vivaldi’s Mandolin Concerto in C Major).  I’m always hearing the opening bars of Gillian Welch’s “Barroom Girls.” Also, “Samson” by Regina Spektor, “I Lost It” by Lucinda Williams, “The Liar in My Heart” by the Star Room Boys.  I should stop.  It’s getting loud in there.

12.  what do you read/watch/listen to when you are feeling badly?

Chandler and Cain never fail to delight me. The Philadelphia Story, The Awful Truth and It’s a Wonderful Life usually do the trick too.  The soundtracks of sadness laced with hope (or at least defiance) would be The Star Room Boys, Micah P. Hinson and the Gospel of Progress, or Kelly Joe Phelps.

13. what do you consider to be the greatest elixir/restorative?

Sleep, exercise, or good food (in huge quantities).

14. what’s something you never told anyone?

Now that we’ve gotten this far, can you imagine me ever holding anything back?

Visit Shannon on Crimespace or go to Noircast site.

Trouble In Mind

The books of others rarely inspire my own writing.

Most often, I’m more moved by music.

Very rarely, a film gets me there. When that happens, it’s usually tied to a director and a body of work.

There’s this particular director, and a film he made deep in the heart of Morning in America, that’s been on my mind lately. That film (and its successor, The Moderns, about 1920s Paris), left fingerprints all over my own crime fiction.

The mid-to-late 1980s: A time of skinny ties and suits without socks; a burgeoning sense of deconstruction and post-modernism; meta-fiction looms in the wings. The work is the thing and thing knows exactly what it is. Knowing winks and self-referentialism are fast becoming hip.

Back then, most crime fiction wasn’t hip. You had your Ellroy; you had your James Crumley…and no deep bench behind those two scribes.

In 1985, director Alan Rudolph released, Trouble in Mind. I saw it the way most others probably did at the time — a blink-and-you-missed-it three-day run in some campus art house theatre. But I was captivated; made do in the years after with a discarded rental of Trouble on full-screen VHS.

Kris Kristofferson anchors the film as “Hawk,” an ex-cop just sprung from prison for the fatal shooting of a “Rain City” crime boss years back.

“Rain City” stands in as a vaguely fascist, pre-Starbucks Seattle, every bit as drenched in neon-kissed rain as you would hope. A place where WASPs threaten and scream at one another in disarming volleys of Korean from time to time; where policeman and soldiers roam the streets and parade around with weapons.

Hawk, whose hobby is building highly-detailed scale models of Rain City landmarks, quickly settles into former habits and old haunts, chiefly a café run by his old friend Wanda (played by Geneviève Bujold, a Rudolph stalwart).

Wanda’s Café is Rain City’s version of Rick’s Place. Wanda was once under the thumb of a local crime boss — the man Kris/Hawk ventilated with a single shot between the eyes in a room filled with witnesses.

Soon enough, Hawk is courting a luminously innocent Lori Singer, a new mother badly married to a scrambling, scuffling Keith Carradine.

Casting a shadow over the city is an über fey reinvention of The Maltese Falcon’s Caspar Gutman — the kind of part Sydney Greenstreet might have played in post-Code Hollywood. Rain City’s new crime lord is Hilly Blue, portrayed by the late-Divine in a rare turn in pants.

A new, 25th anniversary edition of Trouble In Mind has recently been released on DVD, and just in time according to its director, who rues the last print of the film was in a pretty sorry state. For the first time in a quarter century, initiates can explore a film that despite its rarity has achieved a brand of stubborn cult status.

It had been a few years since I’d revisited my grainy, cropped VHS version of Trouble. The DVD extends the frame and draws out details that videotape obscured. Things, overall, are brighter than I remember, and maybe not for the better, but there it is.

Nevertheless, Trouble in Mind, set to a moody Mark Isham score, still walks a tricky line between pastiche, noir and the loopy logic of dreams. The film’s misty, dark world anticipates the same flavor of twisty terrain David Lynch would explore a few years later, a kind of (kissing) city cousin to Lynch’s Twin Peaks.

Rain City deftly and swiftly asserts its own reality and cultural mash-up: one where 1960s-era American cars proliferate; where skinny ties, fedoras, trench coats and sharkskin sport jackets are concomitantly in fashion.

Rudolph says in supplemental materials that Rain City was conceptualized “as a place where past and future meet, but not in the present.”

It is classic film noir’s stylistic flourishes, Rudolph has argued repeatedly, that gave vintage crime films a patina of hyper-reality. By the terms of that proposition, Trouble In Mind’s nth-degree attention to detail qualifies the film as a significant, if under-known, neo-noir.

I’m the first to admit Rudolph’s films can be an acquired taste that eludes many samplers — too stylized and self-aware to suit every palate.

Yet I think Trouble has reached beyond its initial art-house run to assert enduring influences on the works of others. Like Hawk, briefly depicted working out with a heavy bag, Trouble in Mind punches above its weight.

bar nothing

Last night, I had the sublime experience of visiting the famous cine-paradise, the George Eastman House in Rochester, New York—a place I’d heard about for years and always wanted to visit. Invited up there by Head of Cataloging and Access at the Eastman’s Motion Picture Department Jared Case, I got a sneak peek at many of the facility’s wonders, including more gorgeous Hollywood studio stills, posters, press books and other archival items.

A distinct highlight was a glorious and haunting painted plaster mask made of Marlene Dietrich’s face, so delicate and exquisite I could barely look at it. I had always believed those cheek bones of hers were mostly Hurrell-lit fantasies. As it turns out, those planar majesties were god-given.

The occasion of my visit was to introduce a screening of Gilda (1946), and it became the first time I ever saw it on a big screen—a gleaming print that swathed us as if beneath Gilda’s gloved fingers.

I first saw it as a young girl, age nine or ten, on television, and I remember being so enraptured. It seemed so glamorous—the glittering casino, the evening gowns and tuxedos, the exotic Buenos Aires locale.  Beautiful Rita Hayworth, handsome Glenn Ford, their grand romance.

And, like everyone else I was transfixed during the famous scene of Gilda, in that iconic black dress, doing her the famous gloved strip tease to that lowdown tune, “Put the Blame on Mame.”

I remember watching her in that strapless dress, tight as a second skin, and wondering how she could keep it up—the aerodynamics of it—it seemed to signify to me the magical properties of womanhood.

I remember distinctly thinking, This is what life is.

Later, I saw the film again in college—and it was a revelatory experience, but of a different kind.

I sat there, waiting for that childhood rapture—waiting to slip into the sumptuous, romantic movie again.  What unfurled instead  was this dark, tortured world.

And I had this realization that Gilda isn’t the center of the film at all, but is this glistening object. Much like the openly symbolic cane Ballin Mundson (George Macready) carries (which he calls “his little friend), she is something to be passed between the two men, Ballin and Johnny whose deepest feelings are, of course, for each other.

I saw for the first time the dark, nihilistic thread (or zipper) through the satin center of the movie.

In this way the movie became even more fascinating, richer….I felt like I had grown into it. And it had showed me about adulthood, just not the adulthood I’d imagined. It presents a world of complexity, where feelings are never simple and every happy-ever-after has a price and none of us precisely know ourselves or what we’re capable of.

Love, in Gilda—or, perhaps more correctly, desire—is about power, powerlessness, control and lack of control. We see this through the movie’s obsessive, self-conscious voyeurism—everyone seems always to be watching each other, spying through windows and blinds, peering around corners, through masks. Rarely every touching.

So much of the movie seems summed up in Johnny’s breathless voiceover in our ear, confessing, as he leaves Gilda, his old flame, with husband Ballin, his new one:

“I wanted to go back up in that room and hit her. What scared me was, I-I wanted to hit him too. I wanted to go back and see them together with me not watching.

I wanted to know.”

As slick and big-studio a noir it is, it’s noir to the rotten core. Because love here is a curse, a burden, and a weapon (cane, whip, glove). Love is about pain.

Love and hate, desire and contempt are not opposites at all but are in fact utterly inseparable. Or one and the same. As Ballin famously tells Gilda,

Hate can be a very exciting emotion….There’s a heat in it that one can feel. Hate is the only thing that has ever warmed me.

It’s chilling when he says this line. Later, when Hayworth’s Gilda echoes that line, in a desperate whisper, it may be the sexiest and saddest moment I’ve ever seen in film….

The postscript here: Watching it a few weeks ago in preparation for the intro at Eastman House, a whole new shimmering layer peeked through for me, though. One that never loomed so large for me.

Yes, I admit enjoying an added appreciation for actors I’ve come to love, such as the delicious Joseph Calleia as the understanding cop, Obregon. But most of all I saw in Hayworth’s performance what I’d missed before, its pathos, her awareness that she matters less as a person than as a totem these men wield to show their power, their loyalty, their complicated feelings towards each other

Even the famous “Put the Blame on Mame” striptease scene now seems so different to me. Preceded by a musical number where she is precise, formal, ebullient, and quite feminine, in this number she is ballsy-burlesque, skittering, raggedly, by the end into something quite like desperation. Until it is that.

“Put the Blame on Mame” is, after all, a song about how a woman is to blame for the great Chicago Fire, the San Francisco earthquake, everything—just as Gilda’s beauty becomes the excuse for every act of depravity and control in the movie…a fantasy projection, not a real woman.

It’s all the more poignant given Hayworth’s tortured personal life, exploited by her father, her husbands, Harry Cohn, head of Columbia. I hesitate even to quote the much-overquoted Hayworth line, reflecting on her own sad romantic history, “Men go to bed with Gilda, but they wake up with me.”  But this time it seemed so clear that Gilda herself might say the same thing.

So in the end, watching it at age nine or ten, I think I was in fact getting a peek into the adult world, its beauty and its dark seams too.

Spoiler-alert: people, especially noir aficionados, always talk about the ending as being the one blemish on the movie, that the production code demanded we learn that Gilda wasn’t the promiscuous adulteress that Johnny—and we—are led to believe.

But, “happy ending” aside (who, after having watched them tear at each other for 110 minutes, really believes these two will go onto a happy life together?), I love that Johnny is wrong. That we learn Gilda is innocent of the charges. Trapped between two men who cannot reckon with their own desires, she is the great beating heart of the movie.  Guilty of nothing, of everything.

Big thanks to the whole gang at Eastman House, especially Jared Case.

Eight Million Stories in the Naked City

Megan wrote a few posts about photographs had inspired her writing. They have for me, too–in particular, Weegee‘s photos were a big inspiration when I wrote Dope. Weegee was a photographer who took pictures mostly in New York City–his peak production was the thirties through the late fifties. He started off as a photojournalist, using a police scanner to get to crime scenes and the like to get the first pics, and then developed renown as a more general photographer.

The other night I saw NAKED CITY, the Jules Dassin movie, for probably the third time. Naked City is at least in part based on Weegee’s photos–many of the scenes are directly modeled on his photographs. Yet I’ve forgotten the relationship between the photographer and the film–if they optioned his book (also called Naked City) or just “borrowed” his ideas. Weegee’s name wasn’t in any the credits or even in the special features. But many scenes in the movie actually begin as reconstructions of his photos, even duplicating his lighting, which then come to life. If you know the photographs it’s kind of amazing. I’m guessing there’s some kind of legal monkey business at work here, though, because Weegee’s name seems to have been erased from the history of the film. Anyone know the story here?

And, of course, the later TV show was inspired by the film. This was on TV about 3 a.m. throughout most of my adolescence and I watched it almost nightly. That and Ben Casey. What a world I thought adults lived in!

I haven’t seen many Jules Dassin films, but the two I’ve seen–Night and the City and Naked City–are tops. By the way, all the consonants in his name are hard–DASS-in isn’t French, as I’d always assumed, but an American who moved to France and made some films there after got blacklisted. Combined with the name, everyone apparently jumps to same conclusion I did.

feel-good noir

Somehow, this has been New Republic week for me, but this essay on The Town (the Ben Affleck movie) and Dennis Lehane’s Moonlight Mile by venerated (and unpredictable) film critic really intrigued me. He writes,

… the alluvial bond between the new book and the new movie is the current American taste for noir, and the hope that the warm mud of violence and criminality will pass for verities about life on the street. There are many things corroding America, and this endless cultivation of noir must be on the list.

Of course he’s really not talking about noir but what passes for it these days. And who’s giving it that free pass:  the “large, sedentary, middle-class, and crime-free audience (people alarmed by parking tickets or tax audits)” who get a taste of the semi-rough stuff in very palatable, safe form, with an ending we can all feel okay about it. It’s “feel good noir,” he says. A fantasy that “we” (re: middle class audiences) indulge in as we increasingly detach ourselves from what we’d rather not face, such as poverty. We can enjoy a movie about bank robbers with their heart in the right place as a way of turning a blind eye to the larger terror about what banks do, and get away with.

I’m not sure how this argument lines up the initial rise of the gangster movie  during the depths of the Great Depression, nor the glorification of public enemies–bank robbers, in particular. (And since when wasn’t there a whole strand of noir that wasn’t glamorous escapism? Cue Gilda, Out of the Past). Further, without getting too deeply into the semantics of “noir,” I don’t think either The Town or Lehane’s Patrick and Angie books qualify. “Hardboiled,” perhaps (Thomson seems to make no distinction)–but classic hardboiled fiction nearly always leads us to partial redemption in the end. The streets are mean, but we have our battered knight, at least. We can count on him.

Maybe instead, with Thomson’s example, we’re working far more closely in the palette of On the Waterfront;  individual conscience can in fact make a dent; heart does matter.

(Not for nothing, Thomson, in his “Have You Seen …?”: A Personal Introduction to 1,000 Movies, enjoys On the Waterfront but notes its “tidiness” and, perhaps correctly, refers to it as a “a boys’ melodrama.” To which I say, what’s wrong with that? And Thomson would likely say “Nothing.” Maybe that’s what we’re seeing with The Town and its ilk.)

But it’s hard for me to argue with what Thomson says about his premiere example of true noir, Dashiell Hammett. In contrast to what he sees in Affleck or Lehane, who want their protagonists to be seen as “tough beholders of an ugly world,” Hammett was far rougher on his “heroes.” Thomson writes,

Dashiell Hammett knew enough about criminals to loathe and distrust them, and to insist on his detectives as hard, shabby, remorseless men. So in The Maltese Falcon, Spade sends Brigid to Tehachapi with a distinct relish. He takes women, but he doesn’t have to like them. And Hammett doesn’t want to make us admire him.

I have gripes with about five things in this short paragraph (beginning with Hammett’s clear delight in several of his “criminals”), but there certainly is something here that matters. One of the great gifts of Hammett is the hazard and dubiousness he bestows upon his protagonists. When we read Falcon today, Spade seems just as dangerous and self-serving as any of the criminals and occasionally more so. It crackles.

But I leave the article wondering about Thomson’s big claims about the culture and what they mean. Even if we accept Thomson’s view of The Town and Moonlight Mile, what does he do with a story that does revel in the thorniness and pathos of much contemporary life? What does he do with the novels of Daniel Woodrell? With The Wire?