At 07:15 AM 14/05/2004 -0700, you wrote:
>Since, under Duhamel's (the guy who coined
the
>term)umbrella , "noir" spreads pretty wide,
covering
>Hammett and Chandler as well as Cain and Woolrich,
it
>follows that the common elements have to be
something
>that can include the hard-boiled heroics
of
>Chandler/Hammett, the tragic fatefulness of Cain,
and
>the claustrophobic paranoia of Woolrich.
All of these attitudes expressed at least in part, I believe,
by the outlooks and behaviours of their characters. I might
even say they are characteristics of their
protagonists.
But I'd agree with you that noir and hardboil, though often
appearing in tandem, are not the same thing. The
protagonists' approach and behaviour may fit a story into the
category of hardboil, but those same characteristics may be
compared and/or contrasted with the moral atmosphere in which
the protagonist operates. Spade and Marlowe may have
something of the romantic optimist about them, but they still
do battle with the forces of evil.
That alone does not make the story noir, however. 101
Dalmations is a crime story (dognapping, if not a crime,
surely ought to be) with ample dark and sinister atmospherics
and it may even fit our time-lines, but it is not noir.
Disney assures us that in the end, good triumphs over evil.
The dark and sinister forces have, for the time being at
least, been held at bay. But Marlowe's world-weariness, and
Spade's laugh at the end of their adventures suggest that,
though their cases may be solved, the moral challenge
continues unabated. This is even foreshadowed by tragic flaws
within the protagonists' own personalities. I believe it is
this outcome that ultimately makes the Chandler/Hammett
stories fit the category of noir, though Hammett more
definitively than Chandler ("down these mean streets a man
must go who is not himself mean" - Spade is definitely a
meanie.)
Best Kerry
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