irbrian

Family Values in Noir -- Alternatives to Black

Alright, so at first glance this may be slightly off-topic, but its a subject that is tremendously important to me, and I'm hoping to get some kind of constructive feedback. If you disagree with my position then -- well, I fully respect yours, but I ask you not to derail the main point here.

I've been thinking a lot lately about Film Noir. I mean, a LOT. I've always been fascinated with the movement, particularly in the classic "hard-boiled" private detective mystery category. I'm currently working on a project which is highly dependent upon my interest in the topic. Of particular significance has been my study of the central themes, nuances, ideas, and attitudes of Film Noir that make it so appealing to so many. In my studies I happened upon this article:
http://www.filmnoirstudies.com/essays/no_place.asp

Indeed, the more I learn about the ideas behind Film Noir (and the stories that inspire them -- I shall hereafter call them collectively "Noir"), the more I am disturbed by its core values. The very word "Noir" means "Black" or dark, as in darkness, depression, bleakness and hopelessness. Further, as the aforementioned article suggests, the stories that inspired or were inspired by

Now I am a Christian man, and I firmly believe that the family is the central unit of society. I believe that protecting so-called "traditional" family values are essential to very the survival of any civilization. Noir would seem to target family values and seek to mock them, to tear them down, whereas I would like to strengthen and reinforce them.

So my question is: How can one create stories that incorporate the classic "feeling" of Noir, while in fact strengthening and reinforcing the role of the family and the importance of protecting and upholding family values?

AprilLives

The Myst series might have some answers for you, although they are more mysterious than "dark" I suppose. Also, any fiction, when at its very best, incorporates a moral tale, dark fiction included.

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Funnily enough I had just watched Dark Passage and will probably do so again very shortly. I had been recommend it as a 'film noir' but It really didn't fit the mold so to speak, at least to my mind.

The main problem with it is Irene Jansen. She didn't fit any of the usual female roles that prop up the genre. If anything she's anti-film-noir. Rich, kind, devoted, generous and so desperately keen for a loving relationship. She and Vincent Perry have both dabbled in the seedy side of life (with Madge and Bob) and are now keen as mustard to tie up loose ends and run off together, lessons learned.

Jansen's beauty, wealth and her sweet pad are the elements of a lifestyle that would normally lure a down trodden noir 'hero' to risk his nagging wife-child-job for the chance to be humiliated by the closing credits. In Dark Passage however, Jansen and Perry have been burned by that lifestyle in the past and are 'wiser' for it now. What Dark Passage retains of noir is the dirty, any means necessary antics Perry and Jansen take to get free of it all. Its their end goal, a return to loving-monogamous-heterosexual-couple status that's askew.

This turns everything on its head. In the typical noir film the police are a barrier preventing the hero from rising above his station, from scoring the hot chick with the rich trimmings. In Dark Passage when the police see through Perry's face lift, the couple are forced to give up any hope of living in sin together in the lap of luxury. The police are now a driving force behind them leaving their dark past behind.

Noir films are usually about a guy trying to find a society or some particular role in a society that doesn't exist anymore or never did to begin with. The resulting wake up call resulting in jail or death or a serious case of the mopes. At its core noir is about disillusionment. The false ideal. The protagonists' 'dream' is rendered in beautiful, glossy black and white with the utmost attention to detail in the mis-en-scene. All the better to be revealed as an illusion and/or snatched away.

That's why I can't help but feel Dark Passage isn't a noir film. Perry gets the girl. Jansen gives up her spine. Its like a hollywood sequel to a typical noir plot and we the audience missed out on the story about Perry risking his family and going to jail in his pursuit of a beautiful illusion (its alluded to in some conversations).

A key part of all noir films is obviously the ending. Specifically the punishment that outweighs the crime. In classic noir films its usually bad for everyone. In more modern takes often only the male protagonist ends up depressed and worse off. The femme fatale and/or other clever criminals get away. A reflection on modern justice, corruption and the legal system (dwindling male authority). People go to see noir films to be depressed, its cathartic, like going to a horror movie to be scared. You know the 'hero' is going to fail, no matter how you root for him you expect it. Every little success he has throughout the film builds your anxiety. I felt cheated at the end of Dark Passage.

One of my all time favourite detectives is Inspector Montalbano (Andrea Camilleri). A lot of his stories deal with the rise of bureaucracy in the national police force and how it effects his small town (fictional town in southern italy) almost family structured police station. Montalbano is the clear patriach, his children the detectives under him (Fazio, Catarella etc) and his wife, the nagging second in command (Mimi). He also deals with a modernising-mafia which is breaking away from its own familial structure to the detriment of everyone. As often as not he breaks certain laws, and bends rules in pursuit of his brand of justice. One that reflects his emphasis on family and traditional values that are being eroded by changes in society. He gets a lot of stick for it from his long time girlfriend who 'tuts' at him for playing god. (The telemovies with Luca Zingaretti are superb viewing)

I don't think you can honestly cast your main protagonist as the one who falls victim to temptation and begins the roller coaster ride to its inevitable conclusion. A private eye or police detective or whatever on the sidelines, who has exposure to those who do succumb to temptation, and the means to try and help gives you your out. They get to follow the decline of the poor sap, be slightly tempted themselves even, experience and engage with the gritty elements of noir tales but never completely fall victim themselves, thanks to their own family values and ties however unconventional the family structure that engenders them.

The victim of temptation must always suffer, your protagonist cannot save them from their ultimate fate. At least not completely. At best they can lessen the impact on the victim/client's family and those clients who realise their error too late.

This is a common thread to many detective fiction stories. Some of the very best being the Ezekiel 'Easy' Rawlins mysteries. Read the books, they shit on the film from a great height. Easy is often petty, often tempted and always at risk of succumbing to his past and present demons, but he has a daughter and a growing family structure that pulls him back from the edge.

If anything, your choice of family values as saviour and strength is common and easily partners with noir elements. It just helps define what role your protagonist can play in the story. Not the ultimate victim, it can't work and will leave the audience frustrated (like Dark Passage), but close to them all the same. Saved by their ties to family and family values.

Henke

Don't know if I missunderstood you here but aren't you interpreting too much in this (even despite the fact that you're working on a project)?

I only skimmed through your link but bear in mind that Film Noir was a movement that started after WWII. Everybody was rather pessimistic at the time which of course is reflected in the movies. For example, many soldiers wifes had remarried while they where at the front which more or less was the reason that the idea of Femme Fatale was born.

There is one thing to make movies with a pessimistic look on the world and totally live your life by that notion.

I personally have a hard time watching movies that tries to tell the audience how to live their lives well. I rather be reminded of rather unpleasant things in the world. By not forgetting these things we can hopefully do something about it eventually. In that regard Film Noir is something to study carefully.

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duffers

Ironically, next to no one wants Christian moralising in a film, let alone a noir one!

JemyM

The new testament is one of the strongest anti-family texts I have ever read. Take Jesus anti-family attitude and you are going to have noir indeed.

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Periglo

Just a quick comment: historically, the noir genre does not necessarily mock family values. On the contrary, often they are seen as an ideal way of life which the characters (some of them at least) would like to attain, but are tragically hindered to do so. I am thinking on The Asphalt Jungle, a film as noir as they come (as good as they come, too, imho).

Indeed, I think the noir genre often has a moral intention, trying to portrait a way of living that is wrong, while showing sympathy for those unwillingly trapped in it. Classical noir, at least.

Vernon Schillinger

Haha, good one

I don't understand where you get this idea from, have you actually watched any Noir films? If anything, usually the wrongdoers get what's coming to them.