Son of Noir:

Neo-film Noir and the Neo-B Picture

Alain Silver
The "Classic" period of American Film Noir encompasses several hundred
motion pictures from The Maltese Falcon (19-41 ) to Touch of Evil (1958)
produced by scores of different filmmakers between roughly 1940 and 1960
While that noir cycle of production never formally concluded, the attempts to
sustain its viewpoint were few in the 1960$ and 1970$. Particularly near its end,
however. the decade of the 1980$ brought a significant resurgence of interest in
the themes and protagonists that typified classic film noir. The 19905 so far have
added scores more to the titles of the preceding decade. If there is a most
significant difference between then and now, it is in what motivates the creation
of the films.
At the height of the movement individual nair films transcended personal
and generic outlook to reflect cultural preoccupations. From the late I 970s to
present, in a "Neo-Noir" period, many of the productions that recreate the
no;' mood, whether in remakes or new narratives, have been undertaken by
filmmakers. cognizant of a heritage and intent on placing their own interpreta-
tion on it. David Mamet put it most succinctly regarding House of Gomes
( 1987): "I am very well acquainted with the genre, both in print and on film,
and I love it. I tried to be true."1
Guncrazy ( 1992) is not a remake, but a mixture of fugitive couple and "kid
nair" concepts. The film does echo classic period titles, particularly the visual
imagery of Joseph H. Lewis' 1950 original Gun Crazy in scenes of the couple
locked in a parody of embrace while they shoot at cans and bottles. The in-
genuous dialogue is more in the manner of Nicholas Ray's They Uve by Night
(19-47). Because the characters. themselves, Howard and Anita, are much more
like Ray's Bowie and Keechie than those in Robert Altman's aimless, direct re-
make, Thieves Like Us ( 197-4), they naively romanticize their sordid dilemma,
epitomized when they break into a house and dress up for a candle-lit dinner.
Guncrazy, like its namesake and many recent productions, is also a low-
budget picture. In the classic period, film nair may have been disproportion-
ately involved with productions done on limited means . The original Gun Crazy
331
AboYe, Orew Barrymore as Anita and James Legros as Howard, jUYenile fugitive couple in
Guncrazy, recalling characters from both the original Gun Crazy and They / i ~ by N i ~ 1
3S well as Kiss Me Deadly (1955), D.O.A (1950), Detour ( 19-45) and scores of
others were all made on limited budgets and shooting schedules, which
seemed to mesh well with the spare, ill-lit locales that typified the no;, under-
world. In many ways, the resurgence of interest in the flOU style by low-budget
filmmakers represents a return to the roots of the cycle. The "B-film" or "pro-
grammer," the less costly productions of the -40s and 50s from the major stu-
dios, such as Thieves ' Highway (Fox, 19-49), Scene of the Crime (MGM, 19-49), or
Block Angel (Universal, 19-46), whose second-tier actors, writers, and directors
were featured on the bottom-half of double bills, has transformed itself into
the limited release and made for-video efforts of the 80s and 90s. The low-
budget feature, made at a cost ranging from less than $500,000 to $] or -4 mil
lion cannot be financed based on U.S. theatrical prospects alone but must
follow the dictates of the foreign, video, and cable markets . Not only do those
markets still prize the "action" picture or "thriller," whose spare narratives
translate more easily for non-English speaking audiences, but the violence and
j
Son of Noir:
Neo-Film Noir ond the Neo-B Picture 333
compulsive sexual behavior that has always been part of film noir are more
"saleable" than ever. Since many productions of the classic period were criti-
cized at the time for their violence and unsavory themes, this is just another
aspect of neo-noir's return to its roots .
like Guncrazy, many films like the three 1990 adaptations of Jim Thomp-
son's novels, from The Grifters and After Dark. My Sweet at the high end to The
Kill-off at the ultra-low end have worked within the range of limited budget
and successfully evoked the noir tradition In fact, in the worst of neo-noir, the
failing is seldom because of monetary restrictions. Hit List and Relentless (both
1989) are two low-budget examples by the same director, William Lustig.
What imbalances the former picture are the performances, with Rip Torn,
lance Henriksen, and Leo Rossi acting at one level and Jan-Michael Vincent
and Charles Napier at another. While Hit Usc turns on the concept of the
wrong address, the modus operandi in Relentless, where the killer chooses his
victims by opening a page at random from the telephone directory, is even
more arbitrary. Although Judd Nelson's portrayal of the psychopath brought
the picture much opprobrium, his manic interpretation works within the con-
text much as did Richard Basehart's performance in the classic He Walked by
Night ( 1948). The ironies of the displaced cop (Leo Rossi) trying to prove him-
self and the old veteran (Robert Loggia) dying because of his carelessness are
reinforced by the iconographic context of prior work, particularly Loggia's in
Jagged Edge. In this sense, Relentless maximizes the impact of its limited means.
While the flashbacks to the killer's abused childhood at the hands of his police
officer-father may seem an "antique" device, it economically fulfills a necessary
narrative function. Both films use actors with big-budget credits both to mask
their limited means and to exploit the audience awareness of screen personas.
Sean Young's androgynous, "hysterical" performance in Love Crimes ( 1992)
is part of this same low-budget tactic. In pop-critical jargon, director lizzie
Borden takes a cinematic ax and gives her audience forty whacks. The net ef-
fect, however, is a more direct statement about social patriarchy and prejudice
against women in law enforcement than in similarly themed pictures with big-
ger budgets such as Blue Steel and Impulse (both 1990).
Not only is such economy the key in "neo-B," it helps generate a higher per-
centage of films that are rooted in the noir tradition without overwhelming it,
like such self-conscious, high-budget efforts as Shattered (1991) or Fmal Analy-
sis (1992). In copying Fatal Auraaion (1987), Body Chemistry (1990) must cir-
cumvent the obstacles of short schedule and less celebrated actors; and it
certainly had no budget to re-shoot endings after test screenings. Despite that,
the result is both stark and affecting. Without the clutter of freight elevators or
operatic arias, Body Chemistry focuses relentlessly on the central premise; and
when its "hero" is gunned down it arrives literally and figuratively at a very dif-
334 FILM NOIR READER
ferent conclusion. Mortal Passions ( 1990) takes types from the hard-boiled
mold of James L. Cain. Its plot turns fraternal loyalty into betrayal, literally bur
ies bodies in the back yard, and has a would-he femme fotole fall in love with a
prospective victim. In its final sequence it recalls more than anything Cain's
ending to Double Indemnity, the novella.
Cain is not credited here. of course, nor even in /(jss Me A Killer (1991).
which is an "unauthorized" Latino version of The Postman Always Rings Twice .
The high-budget 1981 remake with Jack Nicholson and Jessica Lange in the;
John Garfield/Lana Turner roles restored the impulsive sexuality but little of
the determinism of Cain's original or the 19<47 adaptation. /(jss Me A Killer bor
rows sub-plots liberally from other classic films from Siegel's C,ime In lhe
Sueets (1956) to Hitchcock's I. Confess (1953) but centen on the Mexican
American wife of a white bar owner and a guitar-playing drifter named Tony
who helps transform the place into a salsa hot spot. like Visconti's 19042
Ossessione, this unsanctionecl adaptation of the novel emphasizes the loutish
qualities of the husband to build empathy with the killers and captures Cain's
obsessive and fateful mood better than its costlier counterparts.
The $1 million-budgeted The Killing Time (1987) and jezebe/'s Kiss (1990)
both feature youthful revenge seekers. Both use acton such as Beau Bridges,
Malcolm MacDowell, Wayne Rogers. and Meredith Baxter-Birney to mask
Below, Tom Berenger (left) as the amnesiac r ~ estate develope!" in Slulllered with CortJin
Bemson as his partner.
Son 01 Noir:
Neo-Film Noirond the Neo-B Picture 335
thei r fiscal origins. The key to both stories is revealed In flashback : they have
returned to obtain reprisal for the death of a parent which they witnessed as
children. As it happens both films are situated in small California coastal com-
munities, and the deaths are tied to land swindles. For both films. the location
and the limited cast allow production values to be maximized. The Killing
Time's protagonist murders and takes the place of the small town's new dep-
uty sheriff and features a performance by Kiefer Sutherland that evokes Jim
Thompson's Deputy Lou Ford. jezebel"s Kiss has a title character who rides
into town on a Harley, and a lead performance that is best left undescribed.
More recent, modestly-budgeted pictures, which consider the issue of
criminal "professionalism," Diary af a Hitman and Reservoir Dogs (both 1992),
use stylized performances to create a noir ambience. Dekker, the title charac-
ter of Diary of a Hitman, is a throwback and the film's narrative style follows
suit. The story unfolds as a flashback, a message which Dekker is leaving on his
"booking agent's" answering machine, and his voiceover narration is used
heavily throughout. Forest Whitaker's portrayal of Dekker, who early on con-
fesses to being troubled by his work and maintaining the illusion that "it's not
personal," recalls Mark Stevens in The Dark Corner (19-46) or Cry Vengeance
(1954) in the best "B" manner.
Dekker's key comment is "I was a pro. A pro is a pro, right?" The answer
from Mr. Pink in Reservoir Dogs is "a psychopath ain' t a profeSSional ." From the
perspective of the classic nair style and narrative, Reservoir Dogs is pointedly
aware of a relationship to those conventions . The sociopathic "Mr. Blonde"
might well be alluding to Point Blank when he confesses to being "a big Lee
Marvin fan ." The plot of Reservoir Dogs derives from the caper film. AIl organ-
izer br ings a group of otherwise unrelated criminals together for one job and
keeps their true identities from each other with "colorful" names. The botched
robbery itself is never seen, only its ahermath as the survivors come to the
rendezvous point and argue over what happened and what to do now. Flash-
backs within flashbacks economically create narrative layers that are both "tra-
ditionally" noir and endistance the modern viewer from identification with the
criminal protagonists. Equally endistancing are slow motion optical effects and
moments of grisly humor. While it shares the multiple points of view of
writer/director Quentin Tarantino's later, more expensive, and much more
celebrated Pulp Fiction (1994), Reservoir Dogs is a more tightly constructed and
ultimately much darker film.
In Genuine Risk (1990), Delusion (1991), even Femme Fatale (1991), the titles
are completely unambiguous and the budgets even lower. Equally remarkable
is how well these pictures succeed in the nair tradition. Femme Fatale is the
most complicated, recalling elements of The Locket (1947) and Chicago Dead-
line (1949), in which a man marries a woman who [urn outs to be someone
336 FILM NOIR READER
else or, more accurately, someone suffenng from a multiple personality
der. Uke the reporter in Chicago Deadlme, her husband pieces her other IiV1:!S
together through a succession of leads. while dodging some street hoodlums
whom another of her personalities swindled. In the end the protagonists sur-
vive only because of a whim of these hoodlums.
The plot of Delusion owes even more to AI Robert's "mysterious force" in
the classic Detour or to the chance events in Ida Lupino's The Hitch-hiker
( 1953). Embittered over his longtime employer's sale of thl:! company, George
O' Brien has embezzled a million dollars and is driving to Las Vegas with the
cash in his trunk. He stops to help a young couple, Patti and Chevy, in a car
that has swerved off the road. and they abduct him. O' Brien does not real ize
that the young tough has not been planning to kill him and does not know
about the money, until Chevy kills someone else. Now O'Brien is a witness;
Below, ooo-noi r Katherine BalTese as the revenge-seeking, motorcycle-rid.
ing, and possibly amnesiac IItle character Ktss. Right, Jennifer Rubin as the opportun-
ISIIC Patti, who Sings "These boots are made for walking" at the close of DeluSlOf!.
Son 01 NO;f:
NeoF;/m NOH a nd the Neo B Picture 337
and they dump him in the desert. He survives; but by the time he tracks them
down, Patti has found the money and is preparing to go off on her own.
Stylistically both of these films benefit from the isolated or seedy locales.
which permit a spare and stark visualization in the manner of Border Incident
(19-49) or On Dangerous Ground (19S2). As in After Dark.. My Sweet or Kill Me
Agoin (1990), the desert locations in Delusion permit an arrangement of figures
in a landscape that create a sense of otherworldliness or mirage (the film's
original title), of acting out a bad dream without having recourse to optical ef-
fects or mood lighting. At the victim's trailer site or in a rundown motel at the
aptly named Death Valley Junction, the isolated environment underscores the
narrative tension in the classic noir manner. The last shot literally drives off
from O'Brien as he stands looking at the wounded Chevy lying in the dusty
driveway, and it continues moving away down the road as the end credits roll.
figuratively abandoning the protagonist to his fate .
Genuine Risk. may be the most self-conscious neo-noir and neo-B of these
three films. as locations. lighting style, and art direction constantly underscore
the sordidness of the milieu. The script is outrageous and features lines like "A
racetrack is like a woman ... a man weathers so much banal ity in pursuit of the
occasional orgasmiC moment." lfoIhat distinguishes Genuine RI sk. is the offhand-
edness of its violence. where people are beaten or die painfully. abruptly and
without reason in stagings that capture the disturbing tone of vi deotapes of
real events from surveillance cameras. It also has some wryness and novelty in
its plot and casting, most notably Terence Stamp as a 60s British pop-star
turned petty mobster. Although deceived by this mobster's wife, the "hero," a
hapless petty criminal and compulsive gambler named Henry. survives. And
while just about everyone else perishes, he goes back to the tr<lck for another
play.
The plots of these pictures, all budgeted at under a million dollars. take only
what they can afford from the classic tradition; but that is a considerable
amount. All have enough money for a (emme (atale, a hired ki ll er or two, a
confused and entrapped hero, an employer ripped off, a shakedown. Two
have flashbacks. two have gang bosses, and one a psychiatrist. The locations
vary from Los Angeles to Las Vegas, from Death Valley to Big Bear Lake. but
two have mansions, two cheap motels, and two isolated rural loc<lles where
killers take their proposed victims . Like its antecedent. neo-noir and neo-B in
particular makes few if any extravagant demands in terms of production value.
From television to comic books. film nair has exerted and continues to exert
its narrative and stylistic influence. It has been a while since Dragnet. Nak.ed
City. Johnny Staccato. The Fugitive. Run (or Your Ufe. and Harry-O were on net-
work; but movies-of-the-week and cable onginals frequently explore the nair
terrain on a li mited budget. lfoIhile both were given after-market theatrical re-
338 FILM NOIR READER
leases, such recent and extr2mely self-conscious neo-no;r projects as John
Dahl's Red Rock West (1992) and The Last Seduction (1994) originated as made-
for-cable movies . After the short-lived, animated cop series Fish Police. can it
be long before an angst-ridden Bart Simpson puts on a fedora and skateboards
down his own mean streets?
The resurgence of interest in the themes and styles of film nair in recent tears has
benefited filmmakers at all budget lelo'els. If film nair is no longer the American style,
certainly no other movement has emerged to replace it. Unless and until filmmakers
discol.'er another mirror to hold up to American society, none e-..er will.
Notes
I. Mamet quoted in Todd Erickso n, EVIdence ofF/1m Noir in Conlemporory CInema, p. 168.
Young guns: left, a
childlike pose by Anita
(Drew Barrymore)
holding her .357 mag-
num in Guncrozy. Be-
low. Chevy (Kyle
Secor. right) p ~ p r e s
to execute Larry
OelT)' Orbach) In Delu-
sion.