Identify a contemporary film that you consider to be ‘neo noir’.

The film I consider to be a neo-noir is Nightcrawler by (Gilroy, 2014). The film stars Jake Gyllenhaal and is about him discovering a new career as a cameraman, however has to break the law to succeed. For a contemporary film to be considered a neo noir it must follow similar conventions as the film noir’s in the 40-50’s. I will analyse the films settings as “most noirs take place in dark, nighttime cities” (Conard and Porfirio, 2007, pg.40) and the representation of Gyllenhaal’s character.

The main character, Lou, is presented as a troubled man. His character is introduced at night stealing metal and a securities guards watch. Neo-noir protagonists often don’t adhere to the “archetypal American hero” (Conard and Porfirio, 2007, pg. 47). Lou essentially is a criminal, as we see him manipulate crime scenes over time. Spicer describes the protagonists as weak and unstable (Spicer, 2010, pg. 40). He like many other noir protagonists likes his own company. Whilst trying to seek a job Lou at the start is optimistic and self-centered. However, in an important scene Lou breaks a mirror whilst reviewing himself. Spicer describes the protagonist as “psychologically disturbed” (Spicer, 2010, pg. 40). It’s in this scene we see a unfiltered version of Lou, he is no longer optimistic.

There is a clear femme fatale, Nina the news director. She is a successful, beautiful female who begins to manipulate Lou into getting her the footage that she wants. Spicer states it is the femme fatale that leads the anti-hero to his doom (Spicer, 2010, pg. 40), Farrimond (2018: 2) describes them as “sexually aggressive, deceptive, ultimately deadly femme fatal”. Nina at first deceives Lou by emphasising how much potential he has, this encouragement is what drives Lou to manipulate the crime scenes. On many occasions Lou proposes for a relationship, she however declines as she already has the power and career status to do so. It’s not suggested until the end that a relationship is forming due to Lou delivering her what she has been seeking for.

Porfilio (2007: 25) discusses how Stranger on the Third Floor was unique at the time for combining multiple genres. Nightcrawler is also able to combine the genres crime, drama and thriller into one film whilst exploring the controversial aspects of the television news industry. The film is rarely set during the day, “Most noirs take place in dark, nighttime cities, their streets damp with rain that reflects the flashing neon signs” (pg.4). The films narrative revolves around Lou being active at night. The LA night atmosphere also provides the flashing neon signs. The scenes are often limited in lighting, their faces are lit up by the street lights and moon light. For example, when Lou sees his first car crash and is introduced to the television crew, his face is lit up by the background lights of the police and passing cars. The rest of the mise-en-scene is dark and could easily go unnoticed.

Film noirs use unconventional techniques, as does Nightcrawler as the camera work is often hand-held and shot through the point of view of the camera. The shots are often shaky, distorted and poor quality. This technique often makes the audience feel uncomfortable as it creates a sense of realism, as journalism footage is filmed hand held.

Nightcrawler is a perfect example of a contemporary neo noir. Leos dialogue is often fast paced and sophistically written that it adds humour to the film. The narrative has a meaning that would appeal to many millennials. We are the generation of capturing everything on camera. The film looks at the ethics of this, we are too busy in trying to obtain things for our own gain that we are not thinking about the repercussions it could have on others.

Bibliography:

Spicer, A. (2010) Historical Dictionary of Film Noir. Plymouth: Scarecrow Press, pp.xxxvii-xlix.

Farrimond, K. (2018). The contemporary femme fatale. New York: Routledge, p.2.

(2014). [film] Directed by D. Gilroy. Hollywood: Bold Films.

Conard, M. and Porfirio, R. (2007). The philosophy of film noir. Lexington: University Press of Kentucky.