Early Film Noir: Greed, Lust and Murder Hollywood Style

Rating:
Summary: "The aimless confronting the ruthless."
Review: "Early Film Noir" by William Hare is a pure delight for fans of the genre. Too many books on the subject churn out the same old abridged history with an emphasis on plot synopsis. That's alright, I suppose, if you only want a brief overview of this fascinating subject, but if you've read a few books on film noir, and you now want to delve deeper into the genre, then I recommend "Early Film Noir" as the book for you. This intelligent, well-researched book traces the beginnings of film noir, and delves into the talents of the triptych of film noir novelists Hammett, Cain and Chandler. Author, Hare explores each novelist's essential literary characteristics, and their contributions to the genre, and even the authors' reactions to each others' work. It was Chandler's job to write the screenplay for "Double Indemnity" from Cain's novel, and amongst other things, Chandler called Cain "Proust in dirty overalls."

The book also includes an in-depth analysis of several important films--including--"Double Indemnity", "The Postman Always Rings Twice", and "Murder, My Sweet." "Early Film Noir" is a wealth of information--for example, the author even includes data regarding the comparative sales of Hammett's books in America versus France, and this surprising information is a lead-in into the origins of term 'film noir' and the first time this term emerged into popular film culture.

Hare includes an amazing amount of detail thus creating a fuller picture of the times. Film noir can be seen as a very natural result of certain sociological conditions. Hare's New Historicism approach places events in their appropriate context, and this grants the reader a greater understanding of the genre. Hare, for example, analyzes the film industry at the time, and it does not escape his attention that "Going My Way" received an Oscar for Best Picture over "Double Indemnity" as critics labeled the latter film as a "blueprint for murder." When one considers "Going My Way"--(it's an almost impossibly sunny film with Bing Crosby as the singing priest), it's difficult to align the film with the dark depths of "Double Indemnity." These two films represent two very different worlds. Hare's New Historicism analysis explores the world of film noir, and why audiences in the 40s and 50s were so receptive to its dark mysterious allure.

The author also includes details regarding the making of the films--for example, the role of the lead male role in the classic film, "Maltese Falcon" was first offered to Paul Muni, Edward G Robinson, John Garfield and George Raft. No one wanted the role. Huston had never directed before, and the 'big names' didn't want to risk it. Humphrey Bogart eagerly accepted (good thing, too). "Early Film Noir" even quotes Bogart's acceptance of the role to a delighted Huston. Similarly, Bette Davis and Barbara Stanwyck both turned down the title role of"Mildred Pierce." But a desperate Joan Crawford fought for the role. Then there's the alternate ending to "Double Indemnity" and George Raft's conditions for accepting the role of Walter Neff. The book also touches on the American government's hunt for Communists in Hollywood through the House Un-American Activities Committee, and how this impacted film noir through the careers of directors and stars.

One whole section is devoted to British Noir, and there's in-depth analysis of several films and details of the careers of Sir Carol Reed, director of "The Third Man" and Ken Annakin, director of "Across the Bridge." An index and a bibliography are included. While reading the book, I felt as though I needed to take notes. What a gold mine of information! The author clearly knows his subject and is obviously a dedicated aficionado of the genre. "Early Film Noir" is worth the price tag, and I've gained new respect for the careers of Robert Mitchum and Jane Greer--displacedhuman


Rating:
Summary: For Anyone Who Loves Movies
Review: Choosing a book to read is often like delving into Forrest Gump's box of chocolates: You never know what you're going to get. You sample all the nuts, chews and creams and finally you come across that one that is so good, so special, that you just can't get enough of it, you want more. That's the way I felt after reading "Early Film Noir," by William Hare, a book that takes you into the realm of cinematic shadows and perpetual night, where the landscape is shrouded in fog through which neon lights glow and the sound of footsteps in the dark takes on a whole new meaning. Welcome to the world of shady characters, tough stand-up guys and the fast, calculating women who take them all for that long ride on a short pier; welcome to the world of "Film Noir."

Beginning with "The Maltese Falcon," the nine films discussed here in depth by film historian and writer Hare are ones that have given us some of the most magical and memorable moments on the silver screen, movies that veritably define the genre. These are the classic films, favorites of die hard film buffs and casual movie fans alike, all given a fresh perspective and new appreciation under the incisive examination and studied eye of the author.

Taking you behind the scenes for a captivating look at these films from inception to completion to "classic" status, Bill Hare makes you privy to the professional and private lives of those who brought these magnificent movies to life, the collective creative genius behind and in front of the camera and the power struggles, politics and off-screen drama that often equaled or surpassed that which played out on the screen. He introduces you to the leading men, like Humphrey Bogart, who brought Sam Spade so vividly to life in "Falcon;" Dick Powell as Philip Marlowe in "Murder My Sweet;" Fred MacMurray, the doomed Walter Neff in "Double Indemnity;" and the definitive interpreter of "noir," Robert Mitchum, who turned in one of his most memorable performances as the pragmatic Jeff Markham in "Out of the Past." Then there's the leading ladies, the "Femme Fatales," like Claire Trevor, the calculating Ann Grayle of "Murder My Sweet;" Barbara Stanwyck, irresistible as Phyllis Dietrichson in "Double Indemnity;" and the lovely, unforgettable Jane Greer as Kathie Moffett in "Out of the Past." Last, but not least, you meet the array of character actors, all too often overlooked, but without whom these films just wouldn't be the same. Who can forget Mike Mazurki as Moose "Find my Velma!" Malloy in "Murder My Sweet?" or the likes of Greenstreet, Lorre and Elisha Cook, Jr., all of whom are at last given their due here.

Acknowledging the collaborative nature of the medium, Mr. Hare, as well as to the actors, gives special consideration to the directors, such as John Huston, Carol Reed and Ken Annakin (who contributed the forward to this book), and the methods through which they managed to bring their personal visions to fruition. He takes a succinct look as well at the writers in whose fertile imaginations these stories were born, novelists and screenwriters including Raymond Chandler, James M. Cain and Dashiell Hammett (among others). Through his careful and comprehensive exploration of the intricacies and complexities of this multi-faceted business, Mr. Hare offers the kind of insight that engenders a deeper understanding and appreciation of a truly unique art form which, beginning in the early forties, evolved from within the broader spectrum of the field most commonly referred to as that of Motion Picture Arts and Sciences.

From the first page to the last, the author's passion for and knowledge of his subject is clearly evident, and he treats it accordingly. Eloquent and accessible, "Early Film Noir" is without question the most intelligent and informative-- not to mention entertaining-- book of it's kind I have ever read. In a word, it is transporting. For students of film and filmmaking, the information Mr. Hare provides here will be invaluable; fans of "noir" will find it riveting; and for anyone who has ever had a favorite film, or those who just enjoy a good movie purely for the sake of entertainment, this book will be a rewarding experience. In that big box of chocolates we call The Humanities, this is that one special piece we're all hoping to find. The best way to sum it all up, I think, is to say that I was sorry it had to end; it's one of those rare books you just wish would keep on going forever. This is one for the home library, one you're going to savor and to which you'll find yourself returning again and again. And hopefully, one day Mr. Hare will favor us with yet another volume, an "EFN2." I'll put in my order right now.

Rating:
Summary: For Anyone Who Loves Movies
Review: Choosing a book to read is often like delving into Forrest Gump's box of chocolates: You never know what you're going to get. You sample all the nuts, chews and creams and finally you come across that one that is so good, so special, that you just can't get enough of it, you want more. That's the way I felt after reading "Early Film Noir," by William Hare, a book that takes you into the realm of cinematic shadows and perpetual night, where the landscape is shrouded in fog through which neon lights glow and the sound of footsteps in the dark takes on a whole new meaning. Welcome to the world of shady characters, tough stand-up guys and the fast, calculating women who take them all for that long ride on a short pier; welcome to the world of "Film Noir."

Beginning with "The Maltese Falcon," the nine films discussed here in depth by film historian and writer Hare are ones that have given us some of the most magical and memorable moments on the silver screen, movies that veritably define the genre. These are the classic films, favorites of die hard film buffs and casual movie fans alike, all given a fresh perspective and new appreciation under the incisive examination and studied eye of the author.

Taking you behind the scenes for a captivating look at these films from inception to completion to "classic" status, Bill Hare makes you privy to the professional and private lives of those who brought these magnificent movies to life, the collective creative genius behind and in front of the camera and the power struggles, politics and off-screen drama that often equaled or surpassed that which played out on the screen. He introduces you to the leading men, like Humphrey Bogart, who brought Sam Spade so vividly to life in "Falcon;" Dick Powell as Philip Marlowe in "Murder My Sweet;" Fred MacMurray, the doomed Walter Neff in "Double Indemnity;" and the definitive interpreter of "noir," Robert Mitchum, who turned in one of his most memorable performances as the pragmatic Jeff Markham in "Out of the Past." Then there's the leading ladies, the "Femme Fatales," like Claire Trevor, the calculating Ann Grayle of "Murder My Sweet;" Barbara Stanwyck, irresistible as Phyllis Dietrichson in "Double Indemnity;" and the lovely, unforgettable Jane Greer as Kathie Moffett in "Out of the Past." Last, but not least, you meet the array of character actors, all too often overlooked, but without whom these films just wouldn't be the same. Who can forget Mike Mazurki as Moose "Find my Velma!" Malloy in "Murder My Sweet?" or the likes of Greenstreet, Lorre and Elisha Cook, Jr., all of whom are at last given their due here.

Acknowledging the collaborative nature of the medium, Mr. Hare, as well as to the actors, gives special consideration to the directors, such as John Huston, Carol Reed and Ken Annakin (who contributed the forward to this book), and the methods through which they managed to bring their personal visions to fruition. He takes a succinct look as well at the writers in whose fertile imaginations these stories were born, novelists and screenwriters including Raymond Chandler, James M. Cain and Dashiell Hammett (among others). Through his careful and comprehensive exploration of the intricacies and complexities of this multi-faceted business, Mr. Hare offers the kind of insight that engenders a deeper understanding and appreciation of a truly unique art form which, beginning in the early forties, evolved from within the broader spectrum of the field most commonly referred to as that of Motion Picture Arts and Sciences.

From the first page to the last, the author's passion for and knowledge of his subject is clearly evident, and he treats it accordingly. Eloquent and accessible, "Early Film Noir" is without question the most intelligent and informative-- not to mention entertaining-- book of it's kind I have ever read. In a word, it is transporting. For students of film and filmmaking, the information Mr. Hare provides here will be invaluable; fans of "noir" will find it riveting; and for anyone who has ever had a favorite film, or those who just enjoy a good movie purely for the sake of entertainment, this book will be a rewarding experience. In that big box of chocolates we call The Humanities, this is that one special piece we're all hoping to find. The best way to sum it all up, I think, is to say that I was sorry it had to end; it's one of those rare books you just wish would keep on going forever. This is one for the home library, one you're going to savor and to which you'll find yourself returning again and again. And hopefully, one day Mr. Hare will favor us with yet another volume, an "EFN2." I'll put in my order right now.

Rating:
Summary: Great Introduction to Early Film Noir!
Review: Do you like your movies filled with suspense and evil? Did you enjoy any of the following movies: The Maltese Falcon; Double Indemnity; Murder, My Sweet; Crossfire; Out of the Past; Laura; The Postman Always Rings Twice; The Third Man; or Across the Bridge? If you answered "yes" to either question, I highly recommend Early Film Noir to you.

Mr. Hare has written a fine exposition of how the film noir style evolved, the development of the key films in this genre and brief biographies of the important actors, directors, cameramen and producers who influenced the key films. If you are unfamiliar with any of the films, Mr. Hare does an excellent job of summarizing the story lines so that you can understand the subject without having seen the films. I have seen all of these films many times, and encourage you to use the book to decide which ones you would enjoy.

If you already have a great knowledge in this area, you may find the book to be mostly redundant to what you know already. As someone who had seen the films but not studied their backgrounds, this book added greatly to my understanding of the films and my appreciation of them. I especially enjoyed learning about how the scripts were developed. Some books translate easily onto the big screen, while others require substantial story and dialogue development. The Third Man is especially interesting from this perspective.

Each chapter includes one or more great stills from the films. Those add just the right touch of adding noir color.

Many books about film focus on the most famous people involved. Mr. Hare has made a great decision to focus instead on those who are most intriguing. I had always found Jane Greer to be fascinating on screen and was pleased to find a while chapter about her.

Before reading this book, I did not fully realize the connection between the detective novels of Dashiell Hammett and Raymond Chandler and the later developments of film noir and Albert Camus's writing. Making that link was a very helpful perspective for me.

As I finished the book, I realized that one of the appeals for me about film noir is that the female characters have strength, texture and nuance . . . just like real women. Early film noir was way ahead of its time in portraying the image of women as having all of the potential to be saints and devils that men have. I wondered about why so many current films seem to present women as having more potential than men. Does that mean we will come to see that as the reality in the future?

Rating:
Summary: Great Introduction to Early Film Noir!
Review: Do you like your movies filled with suspense and evil? Did you enjoy any of the following movies: The Maltese Falcon; Double Indemnity; Murder, My Sweet; Crossfire; Out of the Past; Laura; The Postman Always Rings Twice; The Third Man; or Across the Bridge? If you answered "yes" to either question, I highly recommend Early Film Noir to you.

Mr. Hare has written a fine exposition of how the film noir style evolved, the development of the key films in this genre and brief biographies of the important actors, directors, cameramen and producers who influenced the key films. If you are unfamiliar with any of the films, Mr. Hare does an excellent job of summarizing the story lines so that you can understand the subject without having seen the films. I have seen all of these films many times, and encourage you to use the book to decide which ones you would enjoy.

If you already have a great knowledge in this area, you may find the book to be mostly redundant to what you know already. As someone who had seen the films but not studied their backgrounds, this book added greatly to my understanding of the films and my appreciation of them. I especially enjoyed learning about how the scripts were developed. Some books translate easily onto the big screen, while others require substantial story and dialogue development. The Third Man is especially interesting from this perspective.

Each chapter includes one or more great stills from the films. Those add just the right touch of adding noir color.

Many books about film focus on the most famous people involved. Mr. Hare has made a great decision to focus instead on those who are most intriguing. I had always found Jane Greer to be fascinating on screen and was pleased to find a while chapter about her.

Before reading this book, I did not fully realize the connection between the detective novels of Dashiell Hammett and Raymond Chandler and the later developments of film noir and Albert Camus's writing. Making that link was a very helpful perspective for me.

As I finished the book, I realized that one of the appeals for me about film noir is that the female characters have strength, texture and nuance . . . just like real women. Early film noir was way ahead of its time in portraying the image of women as having all of the potential to be saints and devils that men have. I wondered about why so many current films seem to present women as having more potential than men. Does that mean we will come to see that as the reality in the future?