I have an idea that noir is this: a protagonist trapped by an overwhelming desire that is not accepted by his society, but is *perfectly understandable* to the audience. Anybody who works in a cube farm can understand why the insurance salesman reached out for the tough little housewife in Double Indemnity.
So, for traditional noir, this core dilemma usually plays out in overt violence (these days). But when it's a woman with a socially unacceptable but perfectly understandable desire, will the dilemma play out in a different way? Will our (statistically speaking!) superior consensus building and relationship skills mean a more covert type of struggle takes place?
My favorite noir films are early in the cycle, and full of PTSD. My favorite noir short stories are by Woolrich, who shows us simple setups, impossible choices, and sometimes a somewhat redemptive ending -- but there's no saints in his world. Nor in mine.
Sorry, this isn't very articulate. I'm wrassling with this as I try to wrap up the end of the first draft of what's meant to be a mystery novel in the noir tradition. But it's just not. Sigh.
Well, enough of this whining. I'll finish the book and then fix it in post :)
Mysti
2 comments:
I noticed you on Criminal Minds and thought I'd come by. I'm into noir too.
But yes, the traditional noir seems to need updating without hurting it's original concept.
I'm also working on a noir that isn't quite...so I'm calling it Noir Light and hoping it flies.
Know what you mean about "wrassling." Great word. I'd like to hear more about yours.
Have a look at this recent guest blog that Fleur Bradley did for me on noir. What do you think?
http://pdbrazill.blogspot.com/2010/05/guest-blogger-fleur-bradley.html
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