The art of film noir
Sep 7, 2016 | by Becky Oeltjenbruns
Veronica Lake setting it all in motion
For those of us state-side, this weekend included a bonus: Labor Day. A time to reward hard work with a day of play. Leading up to this event, I spent my Saturday checking out Taliesin West and my Sunday running errands. But as the last yellow of the setting Sunday sun darted across the sky I had to figure out what to do with my bonus day. Thankfully my Amazon prime delivery came to the rescue in the form of a tough gumshoe with a sense of humor: Michael Shayne. For the uninitiated, think a combination of Humphrey Bogart’s toughness, Carey Grant’s charm, and the wit of Spencer Tracy (in a collaboration with the amazing Katherine Hepburn). So basically the perfect guy! Who wouldn’t want to spend a day with a guy like that? Well-dressed, smart, doesn’t take himself too seriously – I’m sold.
I devoured the first two films in the collection I purchased. That binging included the special features and one in particular captivated me. It was an interview with the illustrator Robert McGinnis who spoke about his artistic process while creating the paperback covers of all the Michael Shayne mystery novels. One of the things that stood out (beyond the quick timeline that he had to meet for each novel cover – two weeks!) is his quote about the importance of the female form in his work. “There’s nothing more interesting than painting women, it’s the greatest subject that can be.” That got me thinking about the genre Shayne lives in: film noir.
Fun fact: Robert McGinnis is also known for the iconic Breakfast at Tiffany’s movie poster and several of the classic James Bond posters.
When you think about the art of film noir you have to first consider its main muse, the femme fatale. She is the dame that either sets the plot in motion or gives it the sizzle that keeps the male protagonist on his toes. Due to her important role most artists put her front and center on print media. True, she may be in various states of undress, but as McGinnis noted in his interview there always had to be something behind the eyes. An underlying intelligence mixed with some intrigue. And that combination sets apart the iconic movie posters from those less collectible. Consider the feature image of Veronica Lake (first shared with you in this post on collecting). This is referenced on many lists as a top example.
There are few reasons why this sticks out, but the main theme is contrast. The contrast in scale between our femme fatale and leading man. Even though she’s in the background she is dominating the canvas. Is this to signify she is always in the back of his mind, pulling strings, advancing the plot? Perhaps and it makes us want to know more, just like the unfolding of a classic film noir plot. Then we have the visual contrast. Film noir is known for its advanced use of shadow and light. Anyone who has seen the movie The Man Who Wouldn’t Die can attest to the dramatic use of light around the killer’s eyes. Spooky and so much more is said by what lurks in the shadows. Yet when these plots translate to print media, you have bold color and brightness. Lastly I want to chat confidence. One of the film noir constructs is the anti-hero or the down-on-his-luck joe. These guys are often doomed to fail, but you wouldn’t know it by the contrast in these posters. Yes, Robert Preston looks small compared to the looming Victoria Lake – but doomed? a down-on-his-luck guy? Nope – he cuts a dashing and confident figure. He’s going to get the job done, but perhaps Veronica’s perfectly arched brow may have something to say about it?
A clip from the film: The Big Combo
While the translation from performance to print is full of contrasts (which some may see as contradictions), when you take a step back it all adds up. One of the joys of film noir to me is that you can watch the same movie time after time and a new layer of a character is revealed. Think about Humphrey Bogart. His performance in The Maltese Falcon may not seem over-the-top extraordinary, but I dare you to watch it three times and come up with the same character synopsis. There’s a nuance that reveals itself in the performances and within the shadows. That crispness between black and white teases out something unique with each new viewing. In many ways these posters achieve the same thing, even though it’s a static representation. Check out this presentation of the top film noir posters and see if you come up consistently with the same conclusions about what it’s saying. I dare ya – double dog dare ya!
For all the fellow cinephiles out there, do you agree that the art of film noir is a unique genre that captures the essence of the movie with same style we see on the big screen? Let us know in the comments…