GWTW and Casablanca can't be noir because the stories are too
big. For noir the stakes have to be small. In both of those
movies people are swept up in events beyond their control.
Sent via BlackBerry by AT&T
-----Original Message----- From: "Jeff Vorzimmer" <
jvorzimmer@austin.rr.com>
Date: Sun, 29 Jul 2007 13:02:44 To:<
rara-avis-l@yahoogroups.com> Subject: Re: RARA-AVIS:
Types of noir (was Re: Pop. 1280)
> And isn't that the essence of noir? The story begins
with someone doing
> what s/he shouldn't and rest is finding out if a
payment must be made,
> how screwed s/he is?
I have a fundamental difference with most of the
discussions here about the
terms hardboiled vs. noir. I think you guys are taking
a few very intangible
characteristics of film noir and trying to create a
definition of roman
noir, which is a doomed excercise from the start. It's
too broad and too
intangible and, on top of that, you're reapplying it
back to film. Using
your definition of noir as applied to film, movies such
as Casablanca and
even Gone With the Wind, would be noir.
I've mentioned this before but noir is a style of
presenting a crime story
on film. You seem to be overlooking this very important
aspect of noir.
Certainly crime is committed in the movie Casablanca
and it has all the
stylistic elements and story elements of noir, but it
is a story of
international intrigue and espionage, not a crime
story.
Jeff
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