Film noir is described as‘an atmosphere of disillusion and sense
of foreboding, a dark quality that derived as much from the characters depicted
as from the cinematographer’s art.’[1], The Departed (2006) Brick (2006) and Drive (2011), are all films influenced
by film noir; whether this be through cinematography, lighting or narrative.
Additionally these films are more modernized compared to the noirs of the 1940s
– 50s, with updated themes, content, style, visual elements or media not
available during the 1940s – 50s[2]
(the period noir films were most prominent). Due to the differences these more
modern movies are called neo-noir films. Some of the most notable classics films
from the noir canon include: The Maltese
Falcon (1941) Double Indemnity (1944) and Sunset Blvd. (1950). Noir films
can be described as a perspective on human existence and society[3].
The debate on whether film noir is a style or genre of film is what I will be
exploring in this study. I believe film noir is a genre of film, although it
has a style ubiquitous to itself, the general aura of noir includes common
characteristics: motif and tone, social background and artistic/ cultural
influences, iconography, mood and characterisation, visual style... paranoia
and patterns of narration[4].
These are all aspects one would expect to see in a noir film. With parallels to
other film genres like a thriller or horror, noir has its own characteristics,
which are clearly recognisable. This is why I believe it to be a genre rather
than a style of film.

The influence of early noir films is clearly evident on neo-noir, an example being the chiaroscuro lighting brought into noir by people like John Alton and John F. Seitz – who did the cinematography for both Sunset Blvd. and Double Indemnity. The more updated narratives in the late 20th and 21st century noir are the main difference in comparison to the noirs of the 1940s -50s. Visual style as seen in Drive, where it is lit most bright often in the most tense scenes, seems more like a conscious choice of Nicolas Refn’s to go against the conventions of earlier noir films, which still shows there is an influence. In reference to film noir as a genre rather than a style, Drive proves this point. With the films highly stylistic luminous lights, it is still recognized as a noir with there being the loss of identity and sexual motivations.



This is also seen in Double Indemnity, directed by Billy Wilder where Phyllis (Barbara Stanwyck) acts as a femme fatale, entering into an affair with Walter(Fred MacMurray)and later trying to kill him. Then she acts as a damsel in distress additionally with her longing for the affection of Walter whilst still being in a relationship with her husband.
Although
there is the inclusion of the romantic undertone between Driver and Irene the
film is still dark in its mood and tone – like Standard’s unjustified death.
Along with Driver being an anti-hero self-excluded from others, committing very
violent acts, these acts are to help Standard, Irene and their son Benecio (Kaden Leos). An alternative interpretation could be that
Driver is more sexually motivated and that is why he helps so much. This links
to the typical noir male characters like Captain Jacobi who is sexually
motivated to help Brigid in The Maltese
Falcon and Walter who is sexually motivated to help Phyllis in Double Indemnity.This highlights the
characterization influences from early film noir into neo-noir.





Looking at The Departed as a neo-noir – the characterization with the women of the film would suggest otherwise. Gwen (Kristen Dalton), who plays Costello’s girlfriend is partly what you would expect in her being passive and submissive. She always just follows orders from Costello. Although like the other female character in the film Madolyn (Vera Farmiga) she poses no threat to any of the male protagonists. This goes against the typical characterization of a femme fatale character within noir. Madolyn, unlike Gwen has some power in the fact that she is able to leave Sullivan whilst being pregnant with his child. This inclusion within the narrative could also show the more equal rights between men and women now, compared to 60 years ago, in which women do not have to rely on men. This could also explain how both Brigid (Mary Astor) from The Maltese Falcon and Phyllis from Double Indemnity are quite submissive in-terms of needing help from men to achieve their motives in each film. One aspect that is often associated with the femme fatale is sexual seduction – which could be argued to be included in The Departed with Madolyn when she sleeps with Costigan. Another argument is that this sexual liason was out of general attraction, rather than for Madolyn to gain anything from Costigan, which she does not try to do.


Additionally the two characters could be said to seduce men in both their films respectively, although it can be argued they do have genuine feelings towards the men they are in relationships with. The same comparisons go for Phyllis from Double Indemnity. Drive also has a femme fatale character,Blanche,who does not seduce men but is part of the plan that is executed in which Standard gets shot at the bank robbery. On the other hand, she is not the one who orchestrates the plan; she just goes along with it, as she is in the control of men. Irene in the film is not really controlled by men but more relies on them, an example would be Driver helping protecting her and her son. The women in Drive are more helpless rather than femme fatales. This merges into the damsel in distress character, mostly associated with fairytales, also finds itself within noir.


Filmography:
1. The Maltese Falcon, Dir. John Huston, Warner Brothers, 1941
2. Double Indemnity, Dir. Billy Wilder, Paramount Pictures, 1944
1. The Maltese Falcon, Dir. John Huston, Warner Brothers, 1941
2. Double Indemnity, Dir. Billy Wilder, Paramount Pictures, 1944
3. Sunset Blvd. Dir. Billy Wilder, Paramount Pictures, 1950
4. The Departed, Dir. Martin Scorsese, Warner Brothers, Plan B Entertainment, InitialEntertainment Group, Vertigo Entertainment (in association with) Media Asia Films, 2006
5. Brick, Dir. Rian Johnson, Bergman Lustig Productions,
2006
6.Drive, Dir. Nicolas Winding-Refn, Bold Films, OddLot Entertainment, Marc Platt Productions, Motel Movies, 2011
[3]Neale, Steve
(2000) Genre and Hollywood, Routledge (Taylor & Francis Group), 153,
23 - 24
[8]Edward Saywell, Lynn and Philip A. Straus
Drawing Intern, 1996-97http://web.archive.org/web/20080421003620/http://www.artmuseums.harvard.edu/fogg/drawingglossary.html#C
[10]Berger, John (1972) Ways of Seeing,
British Broadcasting Company &Penguin Books Ltd