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), 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 Double Indemnity (1944) and
Sunset Boulevard (1950). These two films like many noir are what Jon Tuska
describes as both a screen style … and a perspective on human existence and
society[3]. The debate on the subject
of noir is whether it is a style or genre of film. 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], are aspects one would
expect to see in a noir film. Similar to other film genres like a thriller or
horror, noir has its own characteristics, which are clearly recognisable and
apply mostly to noir, conclusively making it a genre rather than style of film.
Drive, directed by Nicolas Winding-Refn
is a film that embeds various forms of film noir rooted into it but also it’s not
fully a noir film. The cinematography ‘plays more like an exercise in
turn-of-the-Eighties nostalgia.’[5] Predominately the film
acquires a brightly lit visual style throughout, which goes against archetype
noir films (Double Indemnity and Sunset Boulevard) – that use low key lighting.
The term used to best describe Drive
is ‘neo-noir’[6]
with its overall display as an updated version of the noir films of the 1940s -1950s.
An example of the brightly lit film is the elevator scene, in which Ryan
Gosling’s (driver) stamps a hit man’s face to the ground. Another scene is
where driver goes to a strip club and nearly hammers a bullet into the club
owners (Cook’s) forehead. This could be a stylistic approach from Refn who says
himself that he is very much a fetish film maker[7]. 
The film is certainly influenced by the
early noir films with its main character in a loss of identity and although
subtle, the sexual motivations involved between Driver and Irene (Carey
Mulligan) are evident. Also Irene acts as a damsel in distress throughout,
although raising her son alone, she is helped significantly by men throughout,
mainly Driver. The character Blanche (Christina Hendricks) also acts as a femme
fatale, in the bank robbery scene she already was aware that it was a set up
and of Standard’s (Oscar Isaac) inevitable death. (The damsel in distress role
is also something attached to noir). Also 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.
The influence of early noir films is clearly evident on neo-noir, whether this be 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 century and 21st century noir are the main difference in comparison to the noirs of the 1940s -60s. Visual style as seen in Drive, where it is lit most bright often in the most tense scenes, which is more like a conscience 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 recognised as a noir with their being the loss of identity, the sexual motivations and although 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.
[1]Neale, Steve (2000) Genre
and Hollywood, Routledge (Taylor & Francis Group), 151, 2 – 4
[3]Neale, Steve (2000) Genre
and Hollywood, Routledge (Taylor & Francis Group), 153, 23 - 24
