I only watched two non-film noir movies in November, so if you’re not interested in noir, this will be a really short read.
I’ve spoken before about my thoughts on the theology of film noir, how as a Christian I look on noir as cinema’s greatest, most accurate, and most biblical expression of fallen humanity. That state and how it plays out in our lives is best expressed in the Book of Ecclesiastes. Film noir is simply Ecclesiastes being played out through movies, although film noir usually stops at Ecclesiastes Chapter 11, not moving forward to Chapter 12, the book’s final chapter. After watching 30 film noir movies last month in light of a Christian worldview, I thought about several things:
Before Noirvember began, my goal was to watch 30 film noir movies. That was a pretty simple goal on paper, but I also decided to follow two rules. I would watch:
Mildred Pierce (1945) Michael Curtiz
Warner Brothers DVD
The longer you think about Mildred Pierce, the more you realize how completely devastating it is. You may not know exactly how to feel about the film once it’s over and that’s understandable. You may not even know what to call it: film noir, melodrama, women’s picture, or all three. You can certainly make a case for each, but over the years, melodrama seems to have won out. If Mildred Pierce is indeed a melodrama, it’s one of the best you’re likely to see.
Bob le flambeur (1956) Jean-Pierre Melville
Criterion Collection DVD (library)
Jean-Pierre Melville’s Bob le flambeur easily draws comparisons to other heist films of the noir era such as Rififi (1955) and The Asphalt Jungle (1950) and even more modern films such as Oceans Eleven (2001) and its sequels, but oddly enough, the film I’m reminded of most is Clint Eastwood’s Unforgiven (1992). Like Will Munny in that film, Bob Montagné (Roger Duchesne, above right) is a man who can’t escape who truly he is: a gambler. Like Munny in Unforgiven, Bob may go for long stretches without giving in to his gambling addiction. He might loan a local woman (Simone Paris, below left) enough money to buy a bar, he might take an old friend’s son under his wing, and he might even have once saved the life of a police inspector (Guy Decomble), but none of those things can really change who and what Bob is.
Champion (1949) Mark Robson
We know from the opening scenes of Champion that we’re getting a frame story. As the film begins, Midge Kelly (Kirk Douglas, above) is already the boxing champion, about to take on another challenger, but we’ll have to wait for that bout while director Mark Robson shows us in flashback how Kelly went from riding the rails and hitchhiking to becoming the champ.
Fear in the Night (1947) Maxwell Shane
A bank teller named Grayson (DeForest Kelley) dreams he’s stabbed a man inside an octagonal room of mirrors, locking the body in a closet. Upon waking, Grayson discovers blood on his shirt cuff, a button, and an oddly-shaped key. When Grayson shares his nightmare with his brother-in-law Cliff (Paul Kelly) – who happens to be a cop – Cliff dismisses the whole thing as a bad dream. But Grayson, fearing he really killed someone, sets off to discover the truth.