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Baby, I don't care...says Mitchum in Out of the Past, film noir classic

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Best line in a film noir. This is among the classic film noir: Out Of The Past, 1947. Jane Greer and the underrated Robert Mitchum, whose post bust two years later nearly ended his career. Here, Greer plays evil femme fatal. Film noir was "B" movies until the French took a fancy to the genre and re-named it.

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Mildred Pierce is a mother with two children, Veda, and Kay. She would spoil her two daughters especially her oldest Veda. She divorced her husband due to an argument in their daughter’s lifestyle’s saying that they are to spoilt. Later to keep up with Veda’s demands Mildred opens a restaurant with the help of a family friend Wally Fay and a young business man Monte Beragon. Soon after when the two daughters go on a vacation with their father Kay falls sick with pneumonia and dies. In her grief, Mildred spends all her time on the restaurant and enters in a relationship with Monte. Veda comes and tells her mother that she lied about a pregnancy and extorted $10,000 from a rich family, Mildred then tore up the check, in her rage Veda slaps her mother and leaves the house. Mildred decides to then go to Mexico to continue her business for several years before coming back to California where she finds Veda working as a lounge singer. Mildred begs Veda to come back but Veda states that only if she can live the life that Monte described would she come back. Mildred agrees to marry Monte and give him a third of her business stock. Later she finds Monte and Veda having an affair in their beach house. When she left, Monte told Veda that he never loved her, Veda in her anger kill Monte. When the police come, they interrogate Veda and Mildred and Veda ends up confessing to her crime.

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This shot demonstrates a number of Film Noir techniques that Out of the Past uses. Firstly, there is chiaroscuro lighting on both the characters faces. These are used to show binary opposites between good and evil (combination of both in this case) as well as to create a ominous atmosphere. The male is wearing a hat which is typical in the genre to suggest that he is  of middle class and a person who has a job in the investigatory industry. He is also lighting a cigarette which not only demonstrates his manliness but also will create smoke which adds to the mysterious atmosphere.

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Orson Welles, John Huston, Billy Wilder, Edgar Ulmer, Douglas Sirk, Robert Siodmak, Fritz Lang, Otto Preminger, Henry Hathaway and Howard Hawks

http://www.filmsite.org/filmnoir.html

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Conventions of Film Noir in 'The Big Sleep

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Conventions of Film Noir in 'The Big Sleep

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Firstly, The Big Sleep was filmed in black and white. Filming in black and white by itself is a very stylistic exercise. It emphasizes objects in the light and buries everything else in the shadows. On a metaphorical level, low-key lighting works to show how the truth is being kept hidden.

Femme fatale is repeatedly showcased in Film noir films as they are representations of different personas inside a patriarchal society.

In The Big Sleep Lauren Bacall’s character Vivian is initially dressed in white colors. This represents her purity, her innocence; it tells the audience that she is to be viewed as being on the side of good.

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In this scene the conventions of film Noir is very obvious, conventions such as common mis en scene like guns, cigarettes, expensive clothing etc, the lighting in the scene is also a very traditional use of low key lighting not just to hide the male figure for a plot twist but also to express the dark themes the scene presents

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Mildred Pierce (10/10) Movie CLIP - Veda's Secret (1945) HD

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Mildred Pierce movie clips: http://j.mp/1e6rb0m BUY THE MOVIE: http://j.mp/13UbRSF Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESCRIPTION: Mildred (Joan Crawford) is shocked to find that Veda (Ann Blyth) and Monte (Zachary Scott) had been involved in an affair. Then, in the heat of an argument, Veda shoots Monte with Mildred's gun.

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The Big Sleep is a story about a private Investigator called Phillip Marlowe, who is hired by a rich family to undone the blackmail and gambling debts one of the younger daughters face. The private investigator begins to untangle the mess the youngest daughter is in. However, the eldest daughter, Vivian and the private investigator fall in love although she keeps double crossing the investigator. By the end of it all, the private investigator has seen murder, blackmail, gambling and organized crime.

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The femme fatale is called Kathie. The main character, Jeff falls in love with her while being a private eye for Whit Sterling. They escape from him. This is all shown in a flashback but when Jeff meets Whit again he says he has one more job but actually frames him for murder. She wears very expensive clothes while Jeff wears a suit, coat and hat. This type of clothing is very common in Film Noir. Throughout this film, the use of shadows and low key lighting dominate the atmosphere of the film. Most of the film is shot at night to create this atmosphere. Kathie is a common femme fatale, she seduces with her sex appeal. She has no remorse for the things she has done.

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Characters
Walter Neff: A successful insurance salesman turned murderer as he helps a woman get what she wants by killing her husband.  He possesses the typical traits that a main character of film noir has such as smoking, deep voice, dashing look, wearing a suit and hat etc.

Phyllis Dietrichson: A woman who uses Walter to kill her husband, triggering the "double indemnity" clause, allowing Phyllis to get more money from his death.  She later turns on Walter by shooting him, but ultimately died to Walter. Phyllis is your typical femme fatale character, a woman that uses other men to their advantage until they are of no further use. She possesses their traits such as a beautiful look, expensive dresses, all which creates a "damsel in distress" look, luring the man into a false sense of security.

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The Third Man differs from usual american Film Noirs as it is a British film. The director Carol Reed changes gender roles by making a man Harry Lime (played by Orson Welles) who was supposedly dead throughout the film the Femme Fatale. Carol Reed creates a female character; Anna Schmidt (played by  Alida Valli) and makes the audience think that she is the Femme Fatale, however, due to the change in gender roles he shocked the audience by making Harry lime have the power and traits of the Femme Fatale (other than looks) luring other people into troubles. This is why it differs from other Film Noirs. The soundtrack in this film is also very different from other films noir, Carol Reed uses upbeat/melancholic theme song, the upbeat theme song also relate to the chracter, Harry Lime's personality. The songs connote to how his personality/the character himself is very upbeat and playful. Although melancholic and nostalgic hidden beneath, which reflects Harry Lime's character appropriately. The film contains a lot of dutch tilt camera angles making this very different from other films noir. The use of dutch tilt creates/connotes to the film that perhaps there are many twists and angles to this film, you can really trust Harry Lime (creates an unexpected atmosphere).

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Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion.

It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960

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Film Noir started off as a cheap film making process.

Social Context of Film Noir:
German Expressionism was used throughly throughout Film Noir. Originally, German Expressionism was to express the suffering that Germany endured during the war. This was later brought to America as some of the European directors and produces fled their countries and into America.  Film Noir in America took up this cinematic technique after they went through WW2.

The Social Anxiety in America Post war:
Post WW2 did not bring the happiness that was expected. Many American film Noir productions displayed returning veterans feeling isolated or struggling from PTSD. There was a large magnitude of disillusionment, such as the women asked to work during the war felt as if they no longer had a use after giving up their jobs to the returning veterans.  There was a pressure for the veterans to continue with their daily lives after the war which cause the social anxiety throughout America.