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  1. 2 Kwartalnik Filmowy

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  1. 2 Wlodek P.

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FILM NOIR AND NON-CLASSICAL NARRATION. HOWARD HAWKS' THE BIG SLEEP, EDWARD DMYTRYK'S MURDER, MY SWEET AND ROBERT MONTGOMERY'S LADY IN THE LAKE (Czarny kryminal i nieklasyczna narracja. Wielki sen Howarda Hawksa, Zegnaj Laleczko Edwarda Dmytryka i Taj

100%
Wlodek P.
Kwartalnik Filmowy
|
2010
|
issue 71-72
98-110
EN
Film Noir, one of the most popular genres in the 1940s Hollywood, offered not only a certain aesthetics, expressionist style of filming, the private detective character and the demonic femme fatale, but also explored alternative forms of film narration. The makers of those films, by applying first person narrative or its equivalent, were not only true to the hard-boiled fiction novels they adapted for screen, but also appreciated the inadequacy of linear classic narration to the mood in the USA during the Second World War and afterwards. Three different film adaptations of Raymond Chandler's crime novels, that is Edward Dmytryk's Murder, My Sweet (1944), Robert Montgomery's Lady in the Lake (1945), and Howard Hawks' The Big Sleep (1946), brought three different strategies of narration - separate sequences representing the mental state of the lead character, free dependent narrative, where the main character is present in every frame, and shooting almost every scene with so called subjective camera. At the same time the experiments were restricted by the conservative attitudes present in Hollywood and self-censorship, revealing an interesting struggle between innovation and tradition.
2

PHYLLIS, CORA, LAURA, GILDA... WOMAN AS AN OBJECT IN FILM NOIR (Phyllis, Cora, Laura, Gilda... Kobieta jako przedmiot w film noir)

100%
Wlodek P.
Kwartalnik Filmowy
|
2011
|
issue 74
94-106
EN
Is a woman in film noir the subject or the object of the film? Given the complexity of film noir, found for example in the plurality of storyline patters, types of characters - both male and female, it is not easy to give a straightforward answer to this question. The analysis of four films (Double Indemnity, The Postman Always Rings Twice, Gilda, Laura), in which the screen presence of the heroines is defined not just through their place in the storyline and the use of erotic imagery, but also through the presence of meaningful objects (bracelet, lipstick, glove), suggests that there were certain strategies employed by Hollywood. These strategies were the result of the atmosphere of the times in which the films were made. It was in this context that the film makers wanted to create a strong and independent femme fatale and place her within social context, which the femme fatale found unacceptable. Many of the actresses that played femmes fatales gained status of a movie icon. Their expressiveness was such, that it was not possible to forget their subversive and rebellious character.
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