Film noir is one of those things which will never be truly defined. Film scholars will be squabbling over it until there are no more film scholars. That doesn't mean that the question isn't important and doesn't shed light on the films themselves. I feel almost as if giving my two cents is a right of passage. After reading many who have attempted what I myself am attempting here, I think its possible to break down most thinkers into three distinct camps, those who try to define noir in terms of: pure aesthetics; character traits, setting, and plot elements (the things, or semantic elements); and the themes and context (the syntactic elements). It seems to me that none of these is exactly right in and of itself but rather the answer lies in some combination.
I don't want to bore anyone reading this into clicking away but a cursory examination of this central question to noir is important. Noir films are all more interesting when placed in the context of the genre or movement. For me, the most important part of understanding noir is to put it in a historical context. Although the French were the ones who coined the term and idolized the movies, the genre is quintessentially American. Most of the French films made in the style weren't so much about a reaction to French society but instead were homages to the American films.
The first noir films appeared as the U.S. entered WWII (1941/1942) and the last classic noirs (as opposed to neo-noirs) appeared just before the Korean War (1950). Noirs are a definite reaction to the realities of war. For the first time many people were coming to terms with their own mortality and the realities of a war-time effort. After the treaties were signed, many of the returning soldiers sought entertainment that wasn't the screwball comedy of the 30's but instead the cynical gangster or detective film of the 40's. Perhaps under normal conditions the country would have had a chance to heal but instead the rising tensions of the Cold War only intensified the feeling that at any moment life could change forever and our fate was no longer in our hands.
Aesthetically, noir seems to be easy to categorize, but (if we want to be inclusive) there are exceptions to every rule. They are generally filmed in black and white with a great deal of contrast. The style is generally seen as being a direct descendant of the German Expressionism of the silent era. In fact, several of the prominent noir directors were major figures in the film expressionist movement including Fritz Lang, Billy Wilder, Robert Siodmak and Edgar G. Ulmer. Shadows and lighting are extremely important, it is common for part of an actor's face to be obscured by darkness - unheard of in 30's Hollywood. Other common visuals were extreme angles, location shooting, and night-for-night shooting.
Many of the semantic elements have become clichés like the femme fatale and the down on his luck private detective. Other common character types include prostitutes and night club singers (sometimes the same thing), the amateur sleuth, and the (unattainable) wholesome woman. Plots often feature flashbacks and twists and turns. The setting is usually urban, most often L.A. or New York.
Film noir was central in bringing artistic cinema to the mainstream and paved the way for hits like The Godfather in the 1970's. It was the first time that many saw films as art. Many directors were idolized for the first time, like Welles, Wilder, Ray, and many others (particularly by the French Cahiers du cinema crowd), paving the way for the French New Wave and the huge leap forward that much of World Cinema would make in the 70's. Having a sense of the important films in the genre is important for anyone with an interest in movies - and these are the essential ones:
1. Double Indemnity (Billy Wilder, 1944)
Many argue that noir began with with The Maltese Falcon but for my money that film is simply a precursor. Its much too tongue in cheek to really fit in the canon. The best place to begin is this film, Billy Wilder's look at crime from the perspective of the criminal. Fred MacMurray plays against type (much as Henry Fonda would later do in Once Upon a Time in the West) to great effect and Barbara Stanwyck sets the femme fatale standard, something she had been hinting at her whole career.What makes this movie really great, though, is the script, co-written by Wilder with the quintessential private detective novelist Raymond Chandler.2. Detour (Edgar Ulmer, 1945)
Noirs were inexpensive to make, which made them perfect for low budget b-movies. There were many made during the late 40's and 50's, and most of them reflect their budget, but there are a few which stand out, including Joseph H. Lewis' Gun Crazy, Robert Aldrich's Kiss Me Deadly, and this film among others. For me, though, this is the essential B-noir. It is impeccably paced and features some fantastically bizarre sequences. The film is a great example of the cynicism of noir - the world-view of the film is devoid of hope. The acting is awful but the feeling of dread that is created is top-notch. The film, like many B-noirs, is all about atmosphere, and this one has it in spades.3. Out of the Past (Jaques Tourneur, 1947)
This film is a perfect example of how the flashback structure of many noirs can create a dream-like quality. The film's major theme, that we cannot escape the past, seems to be speaking directly to those who had just returned from WWII just a few years ago (many of whom would be shipped off to Korea in another decade). The characters here are extremely strongly portrayed; no one does sarcasm like Robert Mitchum and Jane Greer might just be the perfect femme fatale, complementing Mitchum's performance every step of the way.
4. In a Lonely Place (Nicholas Ray, 1950)
At the same time the blackest of noirs and the most romantic, this film is Nicholas Ray's crowning achievement (which is saying a lot). Humphrey Bogart plays a character which many says is very close to his own persona, and the performance is more nuanced than is usually seen in noirs. The real star, though, is Gloria Grahame who was mostly a character actress despite her talent and beauty. Many now revere her as the quintessential noir actress and this is her greatest role and performance. Ray's background is in architecture (he studied under Frank Lloyd Wright) and his sense of space is impressive. Many noir's were made about Hollywood, including the aforementioned Billy Wilder's Sunset Boulevard, but this film really captures the volatile mix that was the conveyor belt studio system and the artists trying to work within it.5. Touch of Evil (Orson Welles, 1958)
Orson Welles is certainly among the most talented of directors, yet he was also one of the most difficult. A promising career had, by the time he was making this film, mostly stalled, and much like Captain Quinlan, the character he portrays in the movie, he's just trying to hold on. Like all the other great noirs, this film shows ordinary good people struggling against a Kafkaesque world which is determined to pull them down. From the opening 3-minute shot, among the most impressive ever done, its clear that this is a masterfully crafted film. Each shot carries meaning and creates atmosphere. The only downside is Charlton Heston's ridiculous portrayal of a Mexican drug enforcement official. The film is often considered the end of the classic noir cycle and it certainly ends it with a bang.
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