Happy March 7th Everybody!
I was actually really excited for film noir week because we’ve talked so much about it in class, and I wanted to see what it really looks like, how all the elements tied together! At first I was confused and didn’t really like the film but that could be due to the fact that when I started watching it I was on the L I R2 (aka LIRR), and the person next to me was snoring -_-. Nevertheless when I was able to see the film in the quiet of my room I actually really liked it! The film was a captivating drama full of powerful visual elements. I’m glad to say I finally understand all the hoopla over film noir.
Although the film has a myriad of examples of the techniques presented in Some Visual Motifs of Film Noir I would like to shed some light (get it cause it’s low-light! ^_^) on the opening scene when Geremio goes home. According to Place and Peterson, “small areas of light seem on the verge of being completely overwhelmed by the darkness that threatens them from all sides. Thus faces are shot low-key, interior sets are always dark, with foreboding shadow patterns lacing the walls, and exteriors are shot “night-for night.””
The opening scene perfectly emulates these words on the screen. The exterior shots have shadows all over the buildings, Geremio’s figure is almost pitch black, similar to the effect of a back light. Then as he walks inside and up the stairs there are shadows all over the walls, Geremio is once again covered with shadows, etc.
The corridors themselves add to the scene because they are all so narrow and give a sense of claustrophobia, anxiety, and tension, another feature of film noir according to the reading. The use of mise-en-scene in this scene is also significant. The placement of the lights, choosing to have some lights burned out all added to the drama of the scene. The stairway was also a powerful element as Geremio struggled to climb it, due to his distress. The way the camera quickly following him as he climbed one flight then quickly cut to another flight increased the anxiety and tension. Shooting some parts of the scene at a low angle and placing Geremio at unconventional places was another interesting choice that also screams film noir.
I think this scene was one of the most powerful and beautiful scenes in the film. When you first watch it you’re very lost and disorientated, not sure what’s going on and what the point is. But I think that’s what the director wanted. Choosing to start with this film then flashback to show how Geremio got here makes you want to go back to watch this scene. Once you do that, you see the symbolic prowess of the scene and the fact that it serves as a backdrop of the whole film. It’s introducing the audience generally to film noir but specifically to this chaotic, dark, tense world.
This scene is not only powerful but beautiful as well. All the visual elements come together and perfectly compliment the music playing in the background. The fusion of these features creates a dramatic and tense atmosphere. Overall, two thumbs up for film noir, in my opinion a very powerful and beautiful form of film.
On a side note, I was disappointed at the lack of fist pumping and GTL references in the film. Which means that either Jersey Shore or Christ in Concrete is the more accurate depiction of Italian culture. And I think we all know which one it is. 😉
