“Chinatown” as Film Noir Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience’s perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.
Roman Polanski’s 1974 film, “Chinatown”, revolutionized the film noir genre. Aside from the ab sense of voice-over, the film shares all the same characteristics with earlier noirs. That is, of course, except for the fact that “Chinatown” is filmed in color. Because of this, it is more difficult upon the first viewing to immediately classify the movie to this genre. In movies such as “Double Indemnity” even scenes that take place during the daytime are dark, and since it is a black and white film, this is easy to do. However, in a film with color it is much harder to create this dark effect, especially in scenes that are filmed outdoors.
Polanski makes references to symbols that remind the audience that although “Chinatown” is in color, it still belongs in the genre. For example, one of the first lines in the movie is, “I just had [the venetian blinds] installed on Wednesday.” Venetian blinds are often seen in the genre, and the reference immediately makes the connection between this neo-noir and older films. Also, the first things the audience sees when the film begins are dark, black and white photographs. They take up the entire screen, so for the first minute or so of the film, the audience does not realize that they are, in fact, photographs that detectives are examining. The darkness of the photographs also references the genre. It is as if Polanski is immediately trying to convey to the audience that regardless of the fact that it is a color film, it is still a film noir.
The Term Paper on Film Noir Genre Films One
Film noir is one of the most beloved and popular "period" film genres of the late twentieth century, although at the time that the movies comprising the genre were made, the term film noir was unknown. Essentially, it mean "black film" - a variation on the nineteenth-century French critical term roman noir, or "black novel" - referring to any number of doom-laden, deeply psychological crime dramas ...
While the film is in color, sometimes it appears to be in black and white. There are no bright colors in the film. Most of the colors are either browns, beige’s, whites, blacks, and grays, so that even when the characters are outside or in daylight, there are contrasts between lights and dark’s. For example, at the beginning Mr.
Get tes is seated in a somewhat dark office, yet he is wearing an all-white suit. Later, when he goes to examine the dried up river bed, his black suit contrasts with the bright sunlight and light colored sand. Also, the makeup used on the women in the film is not bright or colorful. One might expect for the femme fatale to wear red lipstick or some type of makeup that makes her look more. However, Mrs.
Mulwray does not appear to be wearing much makeup throughout the film. Her lips are a brownish color and the same for her eyes. Her hair is brown as well. This makes it more difficult to realize that Mrs. Mulwray is the femme fatale. In fact, in the first half hour of the film the viewer is unsure to whether or not Mrs.
Mulwray is the femme fatale. Just like Mr. Geddes, she is dressed in either black or white, again drawing attention to the sharp contrasts between the woman and her surroundings. Polanski still manages to create shadows even in bright scenes. For example, when Mr. Geddes and other men are outside examining the dried up river bed, they all have shadows cast on their faces because they are all wearing hats.
In another scene, Geddes is investigating the river bed alone and is standing at the top. Although the area he is observing is desert-like, Polanski still makes it dark. Geddes uses binoculars to view the space, and the audience sees exactly what he sees. The audience member feels as though he or she is looking through binoculars as well. most of the screen in dark except for the two intersecting circles in the middle, through which we can see two men talking. Scenes such as this one remind us of what Polanski has asks us to remember in the beginning of the film.
The Essay on The Film "Woman In Black"
Explore the ways in which Hill creates sympathy for Arthur as the hero of the Woman in Black Key to the success of TWiB is Hill’s expertise in encouraging the reader to identify with the main character, Arthur Kipps. She achieves this by stimulating feelings of sympathy towards Arthur. Some of the ways in which she does this are by using a variety of different methods such as a range of ...
While it is in color, it is still a film noir. The first time I watched this film I was able to see some characteristics of the genre. For example, I noticed the femme fatale, the private eye who is trying to find out the truth, and corruption within the law. However, I did not see how it was a dark film.
For my second viewing I decided to turn off the color on my television and view it as a black and white film. Upon this viewing, it was very easily recognizable as a noir. All the browns, blacks, beige’s, and whites work together to create a dark set. “Chinatown” is truly revolutionary as it is a film noir that is in color.
Polanski perfectly modernized the genre by producing a film that can be dark, yet still in color.
