Western cinema post world-war has been remarkably smothered by various labels by the pioneers of cinema - yes, the invincible French ofcourse. Escapist movies, film noir, genre,sub-genre(relating to movies avant-garde and nitwitted) were few of those inexplicable categories most of the American cinema during that period belonged to. Films were gingerly designed to divert the viewers from the tormenting war times and the socio-economic and political downturns, such as the great depression and world war II. The American cinema was in its righteousness banned by Europe until the war was adjourned.
I am deliriously enthralled with the concept of noir movies and as this french word suggests, the films reflect misanthropy. The black and white, stark and overpowering cinematic tools capture the mood and the characters, which leave you inevitably numb and acerbic. Interestingly yet, noir films are mostly low budget and a bit askew from the mainstream cinema and were mostly directed/composed by Jews. Aesthetically and scrupulously massaged by the infamous Hayes code, until late 50's, the movies never explicitly depicted matters potentially despairing and antagonistic, including religion, sex, voilence, etc. The tactful use of light, femme fatale, stark humor, nuances of existing predicament, argumentative yet captivating cues of fear and disillusionment stir viewer's nuerotic faculties. Legendary actors from Bogart to Nicholson, in the history of perplexing B-movies, put up a brilliant facade of the race after an undiscovered truth, deemed life-threatening, if explored. Wonder if any of the present noirs would realize a similar pedigree...how?
Will Polansky devise another unpretentious, sardonic materpiece?
