Existential anxieties of film noir

The film DOA does put existential anxieties of film noir at the forefront of its narration. The “walking dead man” metaphor that usually plagues film noir’s themes of a fatalistic protagonist is inevitably drawn into a dark dangerous world where he eventually meets his demise. The very idea that Frank cannot escape his impending doom and pushes on to find his murderer (or blackmailer, criminal, etc.) is a very existential noir characteristic. Frank is shown as the opening credits roll roaming down a long hallway in search or something or someone, and seemingly injured. The dramatic music seems to help the narration and create the feeling among the audience that something dramatic will soon follow. After Frank reports to investigators that he was murdered in San Francisco, audiences are not sure if Frank is crazy or dreaming. But when the head investigator identifies Frank from the file, we are convinced that he must be a “dead man walking”.

I think that this idea of the metaphor becoming the text, rather than the subtext, works interestingly within the narration of this film. I imagine it is quite an innovative idea among noir plots that the actual victim of a murder would be able to discover through their own “legwork” how or who murdered them. In most instances of a noir, a victim of a murder discovers their fate much too late, and in some occasion are not even seen on-screen by audiences. This film is seemingly darker in my opinion than other noir films because 1.)An undeserving character dies, 2.)The amount of psychotic behavior is intense, 3.)And the treatment of women is a bit tough for its time. This semester we have seen films where our protagonist dies, and we’ve seen many others noir films with psychotic behavior and screwed world views. We have even seen films where our fatal noir heroes have been verbally tough & rough with the women. Alas, DOA combines all three of these characteristics in our protagonist with very important (and somewhat cheesy) social values, which are set against real-life locations and provide greater evidence of the isolation that Frank feels as he slowly dies. I think that the audience is hypnotically draws us into the events surrounding Frank’s undeserving death and we empathize for his demise throughout the re-telling of it.

The narration in this film does seem a bit negative and harsh for our protagonist. All in all, what did Frank Bigelow do to deserve such an extreme fate? It seems to me that the moral of the film suggests that one must appreciate life because we are not intended to “walk the earth” aimlessly unaware of what we possesses. DOA seems to challenges the everyday monotony that plagues most Americans who drift through life unappreciative of their surroundings. Specifically, I think this film addresses the particularly aging man who can’t seem to commit to a way of life (the American dream with a wife and kids), and lacks recognition for how fulfilling such a life can be. Up until he finds out from his first doctor what is causing his sickness and eventual death, Frank is avoiding marriage to Paula and possessing a wander eye for other blonds, while aimless living his life with little enjoyment or fulfillment. Additionally, Frank’s wandering eye somehow communicates that Frank has been or will be unfaithful to Paula. Yet, on-screen Frank never actually partakes in committing adultery with any of the blonds which tempt his interest. The catalyst for him discovering Paula’s value to his life, and the regret of not having children only becomes apparent when he realizes he is about to die. This is not an uncommon idea in real life off-screen. Frank is soon running through the scenically real streets of LA mad and desperate. Running out of breath, he stops at a news stand where we see a perfectly fitted magazine for this scene which reads “Life”. Then there is a short montage like scene where an unknown couple dramatically meets and then kisses indicating that Frank will miss out on this type of relationship, and it also communicates a new longing for Paula. Secondly, we see a little girl lose her ball and Frank picks it up to give it back to her, which is the indication that he regrets not ever being able to have children of his own. To the audience, it would only seem fair that Frank gets to survive his doomed fate; especially now when his values have changed.

Casting a middle aged Caucasian lead is a bit distracting, and it misleads you to the fact that this is an incredibly dark film. The New York Times suggested that “Bigelow's search for his own killer is noir irony at its blackest”. Hirsch states “One of the films many ironies is that his last desperate search involves him in his life more forcefully than he has ever been before. The as is so. Tracking down his killer just before he dies — discovering the reason for his death — turns out to be the triumph of his life". Maybe the Frank character would be better impact audiences with if he were younger, or even a woman. A younger person would have a greater impact on the audience, yet it would make for quite a different situation. Yes, the audience would empathize that he/she had died without experiencing what was left of their life, but then the protagonist character would not be at fault for wandering aimlessly and unappreciatively through most of his life. Thus, a woman’s tale in place of Frank would maybe make for a more impacting theme in the film for audiences. My gender (female) in noir films have been classically misinterpreted, so seeing a “Frank-ina” running across the screen on her existential tirade would be quite identifiable for me. Though I would not change the fact that the main protagonist is an average person monotonously living in a small town, which is unable to commit to a way of life, I would misplace Frank with a woman in her 30’s who neglected to settle down because she was fighting against her gender’s social expectation. “Frank-ina” would have to have similar weakness so instead of it being women and booze (like it is for Frank), her weaknesses would have to be men and booze, gambling, etc. Alas, I understand that by changing the characters to fit my taste, DOA would no longer have that noir characteristic.

I have seen plenty of neo-noir films and I can’t recall many films released after the 90’s where the main middle aged Caucasian protagonist is killed through a luminous poisoning. Although many films today have elements similar to that in noir films, they cannot really be classified as “true” noir. I have one film in mind that might be considered closet to DOA, but that is hard to say since I have not seen ALL the neo-noir films which have been released. Still, I do not think Bourne Identity could be remotely related to classic noir, yet the narrative is the most similar to DOA that I can come up with. Jason Bourne is a man who everyone thinks is dead at the opening of the film. Although Bourne is not an ordinary “Joe’ like Frank because of his mechanical like governmental killer training, he was an ordinary Foreign Service officer named David Webb (his former self) before he was Bourne. For most of the film, Bourne is searching for his true identity, and trying to find his murderer, while forging a strong relationship with the only person he “knows”, Marie, a woman he has just met. Jason, unlike Frank, lives on and even gets to reap the benefits of realizing how important it is to be “connected” to someone.

THE BIG SLEEP (1946) Greenhouse and Plot

The Big Sleep - Analysis

The greenhouse scene within the Sternwood mansion could represent the “world” Marlowe is about to enter when agreeing to take on the blackmail case. The humid heat of General Sternwood’s greenhouse reflects the sort of hellish nature and corrupt ways in which the individuals carry on in this film. The trail of lust, greed, and crime within the film’s plot is translated by the cruel environmental conditions of the greenhouse. From the very moment Marlowe walks into the mansion he is tempted and seduced by vices. When Carmen meets Marlowe in the hallway, she tries to peak his sexual curiosity. Alas, Carmen’s character is only an introduction to the perverse world he is about to uncover.

General Sternwood may have seemed innocent and nonthreatening to Marlowe, but I feel that the General is an example of what happens to strong-willed men when their integrity is challenge. Although the movie does not indicate how the General became so feeble and ill, I feel that the General is a reflection of what Marlowe will become if he falls to the many temptations which plague him throughout the film. General Sternwood pushes Marlowe’s vices to the surface by immediately offering him to drink heavily upon meeting him. Marlowe even comments about the sweltering heat of the sauna-like greenhouse and suggests “It’s too hot in here for any man who has blood running through his veins.” Although he was joking, Sternwood agrees with Marlowe and says, “That man is already dead who must indulge his own vices by proxy.” I think that Sternwood has hired Marlowe to solve a case, but the subtext suggests that the General wants to experience this case (and all the “evil” that follows) through Marlow. Just as the General hired Regan for companionship, yet he was more interested in sharing his vices. Thus, if Sternwood could carry himself on his own two feet, he probably would have no need for Marlowe. I don’t think that General Sternwood was leading with evil intentions, but I do believe that General Sternwood did represent a shell of a man who was once tempted by the common vices which Los Angeles’ dark sided nightlife had to offer. This film purposely tries to confuse the audience and eludes us from seeing the inner core of the narrative, situations within the plot and the intentions of all the characters.

Everything within the Sternwood mansion’s at first appearance is obliviously luxurious, clean, and magnificent. Alas, every turn within the mansion, Marlowe is faced with seductions that create a darker narrative subtext within the film. Both Carmen and Vivian are dangerously beautiful, extremely enticing but suspicious, which is like the allure of the wealthy “underworld” life in LA. I believe that the greenhouse Marlowe soon enters in after meeting Carmen represents the subtext of the underworld which exists for our affluent characters. The hot and humid environment of the greenhouse scene expresses the “evil” and “despair” in a hell-like place known as LA; it encompasses gambling, perverse fetishes, alcohol, murder, adultery, and blackmail for the elite of the city. Marlowe soon become entangles within the vicious world of murder, where human life means so little to our characters, and no person is safe.

The Big Sleep’s plot seems to be deliberately confusing because audiences learn clues just as Marlowe is learning them. Marlowe learns from Mars that Carmen killed Regan due to her obsession with him; we finally discover the mystery behind Regan’s disappearance. The film’s use of heavy dialogue early on in the film doesn’t help explain much about WHO does WHAT and to/with WHOM. It is almost impossible to follow each “door” of clues that reveals itself to Marlowe, which always leads to yet another murder. I think there is more of an emphasis on the communication that exists between the characters and how they react to no another within the narrative. Thus, The Big Sleep seems to be an examination of the characters within the film which focuses their relationships with one another rather than a search for the murder(s). Marlowe shows a lack of appreciation for, or disconnection to, human life and he shows little compassion for those who are murdered. Marlowe almost seems like he feels that those that died actually deserved it (except for Regan) for “playing with fire”. This is displayed when Marlowe’s reaction to Harry Jones’ death is nil. Although Marlowe has a bit of respect for Harry Jones’ character because he sees him as an honorable guy (unlike any other character in this “underworld” version of LA), Marlowe is only slightly unmoved by Jones’ murder. Throughout The Big Sleep, our protagonist continues to search for truth in the face of the antagonists threats. In the end, Marlowe’s plan to pin Eddie Mars is fueled by his love for Vivian.

This movie reminds viewers not to dig to deep into the unknown because what you may experience there may never allow you to be the same again. What started out as a simple chase for the blackmailing culprit soon became a search for Regan, a quest for truth, a battle against temptation and evil, a struggle to survive, and a fight for love. Eventually, Marlowe finds himself in a situation where he has killed someone and must cover for a gal whom he is unsure of, Vivian, from the police. Although Marlowe finds himself in a deep hole, I believe his saving grace was the relationship that developed between him and Vivian. Without Vivian, Marlowe would not have escaped the house where Canino kept him captive. In my opinion, it is a bit odd that Marlowe has fallen for a woman who is the spitting image of him in a dress, only “a little dumber”, as Marlowe put it. At any rate, I’d like to believe that it was his love for Vivian that allows him freedom from the pits of “the greenhouse”, and returns him to his former world where ordinary people aren’t involved in so much seediness. One thing that does hold true throughout this film is the idea that “when you’re digging up dirt, all you get is dirty.”

A mock documentary few remember

In 1994, writer and director, Rusty Cundieff, released a mock documentary "chronicling the rise and fall of a not particularly talented--or particularly bright but always controversial--1990s hip-hop group, NWH (Niggaz with Hats)." Few remember or have even seen this masterpiece... Not only was "gangsta rap" and explicit lyrics such a sensitive subject during the mid-nineties, remnants of Eazy-E aids crisis were still in the air. This mockumenary was released in 1994, and Eazy-E died on March 25, 1995. Tone Def, Tasty Taste, and Ice Cold (which happens to resemble Eazy-E in reality)are almost exact replicas of the hardcore gangsta group, NWA (Niggaz wit Additude). I enjoy the film very much because it added humor to the way I looked at NWA seriously. Just as Life is Beautiful(Benigni) had a absurd humorous spin on the events of the Holocaust, Fear of the Black Hat mocks the gangsta era in the same fashion, only in a documentary like style. Here's a excerpt:




Fear of the Black Cat also pokes fun at the racist mentality of members of NWA and their hatred of LAPD. This was a common reality in Crenshaw streets and Compton hood. I was a huge fan of NWA in 1991-92 (really, I still am today), and many injustices happened on to the people of lower income LA neighborhoods, which were made aware to the nation through NWA's dirty lyrics. Additionally, many of the people living in these neighborhoods were people of color. Here's an excerpt of a mock music video that appeared in the movie:



It's important that mock movies and documentaries are made because it helps us to laugh at the "wrongs" in our society. It's still amazing to me that it's almost 2006 and many injusictices clearly still plague our nation today. If we can find humor in certain issues that offend us as a society, then how can we ever comfortably work through our problems? Just say The Chappelle Shows has opened dialouge up for "white suburbia" to say the "n" word comfortably, movie like Life is Beautiful and Fear of The Black Hat has done the same. I encourage more filmmakers to do the same, if they can handle the comedy and drama within the content of a movie tastefully.

La Vita e Bella (Life is Beautiful)...Dramatic, and Comedic.

Although Jackie Chan is known for his hilarious combination of slapstick comedy mixed with his non-stop action martial arts, Chan has also been hailed as the Charlie Chaplin of today's Hong Kong cinema. Some believe that the musical genre in films was the death of slapstick comedy, and to a larger degree this is true. I assert that "the end" of slapstick comedys has not entirely arrived and even more inventive types of slapstick are accuring in other parts of the world outside of Hollywood cinema. Being that I have never been able to tolerate slapstick comedy, like that of Charlie Chaplin or Buster Keaton, I am one of the toughest critic you'll find when faced with reviewing a film within slapstick genre. While saying this, I have one movie in mind: Life is beautiful... a film by Roberto Benigni(1998).

La Vita E Bella opening scene



This film is genius. Benigni uses the perfect amount of comedy coupled with drama in telling the story of one man and his family, which is affect by the Holocaust. Yes, this film is a tear jerker, but you'll find yourself laughing and crying at the same time. I never knew slapstick could be so entertainingly fulfilling until I was able to get my hands on La Vita E Bella. Even in scenes that are disturbingly tragic, Benigni draws from laughter to carry out a scene.

The anvil Scene

Flashward.....only to flashback again

Our readings suggest that “Flash-forwards are used only occasionally in fictional films, usually to suggest a premonition or inevitability." Yet the fictional movie, Run Lola Run(Tom Tykwer,1999), which shown in class on Wednesday, used flash-forwards that ruled over two-thirds of the film. Instead of seeing the flash-forwards scenes in the film simply as premonitions, I view the flash-forward in Lola as glimpses into parallel moments in time within our universe. These parallel universe “scenes” seem to convey that with only one minor alternative decision or event made, alters greatly what occurs in the future. This entire film has a sort of action/reaction type feeling to it, and in the end I am given an existential outlook on even my own everyday routines. Although this film can seem a bit confusing initially, the audience later recognizes the conversation between the two main characters while they are in bed is a gateway to yet another “domino effect” scene. Additonally, the intro narration at the beginning of the film gives some insight to why the audience is experiencing the alternative scenes in Lola.

A movie that intrigues me pertaining to flashbacks is the Last Samurai (Edward Zwick, 2003). Here, Tom Cruise’s character has an immediate flashback after his fight that reminds him of what he has just experienced. Earlier in the movie, a Japanese fighter instructed Cruise’s character that he must fight without thinking. In this Ronin scene, Tom has executed what the Japanese character has warned him to do. . .hence, the needed flashback for the benefit of Cruise’s character.

The Ronin Scene


A film that shows a variety of flashbacks and flash-forwards is The Jacket (John Maybury, 2004). Since this character of Adrian Brody has premonitions of the future and has many flashbacks from his past, this movie seems to jump around a lot. This movie maybe a little harder to follow that Run Lola Run, so watching it more than once is advised. After the movie’s climax, the film’s ending scene happens to be a flashforward as well, yet this forward movement in time is not a premonition. Instead, it is the way Adrian Brody sees life after death.

The First time I Died Scene


Morgue Locker Vision Scene

Opinion: Vocal Musical arrangment or Orchestrated Instrumentals?

The components of a Soundtrack are obviously vital to a film's continuity. Specifically, instrumental sounds and vocals are symbolic and supportive to a film, while evoking intended emotions among its viewers. Which bring me to this question: Are audiences more compelled by a film's vocal musical arrangement or are viewers more affected by their emotions and moods while experiencing newly orchestrated instrumentals of a film? As our readings suggests, "Popular music establishes when the story takes place", but I assert that popular music also deeply affects audiences even further. Going beyond the fact that a movie's soundtrack helps sales of recorded music in stores, popular music creates an inferable feeling among a film's audience. When I hear a familiar song, I am suddenly emotionally bombarded by memories and moods, which I would not experience with newly orchestrated music minus the vocals. Depending on the song, I encounter emotions that are fond or indifferent, warm or cold, positive or negative. If I hear familiar music, it only takes 5 seconds or less for me to recognize what song a director has chosen for a scene; it takes even less time for the song to ignite a desired or undesirable emotion from me. For Example:

Familiar or Popular Soundtrack


On the other hand, instrumental music that is made specifcally for a film can relay the director's intended mood precisely. Without having the audience distracted by their own more personal emotions, which is the case with popular music, newly composed non-lyrical music for a scene prevents the audience from straying from the director's vision. John Mullin describes Danny Elfman's work for SpiderMan (2002), "It's an entertaining listen that manages to be serious (and to convey the right amounts of dread and sentiment, when needed), but that never forgets to avoid taking itself too seriously". Here's a clip:

Versatile actress? I don't think so!

There are many occasions where an actress or actor is mistaken for being a versatile type of performer. As we discussed in class, Julia Roberts heads that debated list. Although Roberts is at the top of the Ulmer Scale, which is partly due to her ability "to open a film based solely on her name above the title without the support of a male co-star", she is not a versatile actor in my book (Wikipedis.com). I am not taking anything away from the fact that she is a convincing actress, but I am not convinced that Roberts is as versatile as Charlize Theron, Keira Knightley, Tom Hanks, Sean Penn, or Leonardo Dicaprio. If you take a look at many of Roberts’s films, you’ll see that there is not much depth to the characters that she plays. There is of course the role of Erin Brockovich (Directed by Steven Soderbergh), which Roberts plays a real life character, but I wonder if this role was given to her by Soderbergh because she was the best suited to play the real-life Brockovich due to Roberts own real-life personality. Or did Roberts really have to go through a deep acting metamorphosis to achieve this role? Basically, I believe that the Brockovich role was better suited for Roberts than Roberts having to be the one to "suit up" for that particular role. The most versatile acting that Roberts has done to date in my book is the character that she played in Hook (Directed by Steven Spielberg). Since Roberts is not typically scene as someone who would play Tinkerbell, I believe this that this role is more diverse in character from that she would normally play. Alas, the part of Tinkerbell in Hook was a very small role compared to what she has played in the last 15 years. Julia Roberts has accomplished many film successes in Hollywood for herself, which has help other actresses achieve more equality in a male dominated career, as a movie star. But, Roberts has in no way shape or form demonstrated her acting ability to be anything other than a character actress.

Most versatile role for Roberts:

Character roles for Roberts: