The Evolution of Noir

Many different styles of visuals and sound are used in cinema. In this essay I will explore the different ways sound and pictures are used in Nosferatu (1922), Sunset Blvd (1950) and Sin City (2005).

Nosferatu, directed by F W Murnau, is a film from the German expressionist silent period. Being a German expressionist film, there is a lot of emphasis on using dark settings. For example, the vampires’ shadow on the stairs as he walks up them to attack Ellen, is very eerie and creates suspense as he slowly climbs the staircase. Frayling argues that Murnau also ‘thought that speeding up equalled sinister’ (Frayling : 2001), and says many diverse methods went in to creating the peculiar vibe. The film uses a repetitive soundtrack, where certain type themes are put according to the scene. For example, the same tune is used for every scene with Ellen at home. However, even though James Bernard has reproduced this particular score, during the silent period this is what a pianist accompanying the film would’ve done in a cinema.

The sound used in Sunset Blvd also uses a dramatic soundtrack, which like Nosferatu builds suspense. However, it is not the main attraction because it was made after the silent era, meaning that dialogue and diegetic sounds are used in layers with the music. The dialogue is mostly narrative monologues, for example when he is trying to find his agent we get to know background information in a short time, which helps the audience understand the protagonist. The cinematography is similar to Nosferatu, as it is shot in black and white, in very gothic, occult like settings. Shadows also play a big part in the film, for example when we first see Norma, she is has sunglasses and shadows coving most of her face, which makes her suspicious. Even though made thirty years later many elements from primitive cinema remain.



Sin City directed by Frank Miller is very pleasing on the eye. By using CGI with a combination of the use of shadows he creates a crisp look, and even though made in the modern day it uses no colour. However, at some points it includes red, to compliment the black and white. Interestingly, both shots described from the previous films are used. The one from Nosferatu is used before Hartigan hits a goon around the head with a pole. Along with the shot from Sunset Blvd, which is used when we see Kevin at the start, where his face is a shadow and all we see are his sunglasses. However, unlike Nosferatu, Sin City uses slow motion (such as when the ear is shot off) instead of speeding up to enhance the vibe. This shows that even in the modern day aspects of earlier films are still used but are still developing. Although, the sound is used exactly the same as in Sunset Blvd, with a mix of narratives, dialogues and dramatic music.

I think that these films show a progression of the way films are shot, or generated. It is interesting to see how foundations set in certain periods remain to be used almost a generation later, and how cinema is an ever-improving medium, with filmmakers taking the best elements to aid new productions whilst adding their own.


Bibliography

Christopher Frayling On Nosferatu, 2001. (DVD) Directed by Lynne Wake. UK: Photoplay Productions

Nosferatu, 2002. (DVD) Directed by F.W.Murnau. Germany: BFI Video

Sin City, 2005. (Film) Directed by Frank Miller. USA: Dimension Films

Sunset Blvd, 1950. (Film) Directed by Billy Wilder. USA: Paramount Pictures

Cape Fear VS Cape Fear

Cape Fear (1962 & 1991) directed by J. Lee Thompson and the latter by Martin Scorsese, was based on a novel written by John D. MacDonald named The Executioners (1957). Both films follow the story of a Sam Bowden who in the past sent a rapist Max Cady to prison. The film is set after Max is released from prison and comes after Sam for sending him down. In this essay I will compare how the two directors approached making the movie.

Although, this basic narrative is kept the same, the directors use the characters in different ways. In the original, Sam is an honest family man who tries to protect his family, who even keeps watch outside the boathouse at cape fear to make sure Max isn’t around. Where Scorsese changes him into a slimy individual who cheats on his wife, and is scared of Max. For example, in the same boathouse scene he hides inside with his family from Max. Max Cady is also different, as he comes across as a lot scarier and more manipulative in Scorsese’s version. As he even gets Sam’s daughter Danielle Bowden to kiss him. Danielle is also changed from a happy girl in the original version, to a tear away teenager, who completes the dysfunctional family, which ‘in 1991 is the adjective of choice to describe American family life’ (Kelly 1992: 282).

Being thrillers both films are very suspenseful, however I feel Scorsese’s has more suspense. He does this by using the main theme tune whenever Cady is on screen, and whenever the theme is played we suspect that Cady is going to harm Sam and his family, whereas this tune is only used in the beginning and end in the original version. Max’s character also increases suspense, as his movements are unknown. For example, he breaks into Sam’s house through tough security without being noticed. This makes the audience feel weary, as they are unsure as to how he got in, and what could stop him from getting to them. Yet in Thompson’s version, his methods of attack are shown, which makes the film more realistic, yet less scary as the audience are conscious of what is coming. In the 91’ film the opening scene tells that something bad will happen at “Cape Fear” and when we arrive there in the final scene there is a storm, which makes the audience aware that the climax is close. Nothing of this sort is included in Thompson’s interpretation, but he does show many close encounters between Sam’s family and Max, where in each scene Max gets closer to them.

Hoberman argues that it is an ‘attempt to make money out of a clumsy plunge into sexual pathology’ (Hoberman in Gritten 2008: 110). However, I felt that the more violent and smuttier script made Scorsese’s version a modern interpretation, as the topics explored could be put onto the screen as in ’62 it may have been banned. Also the dysfunctional family adds more to the story, rather than just a man trying to get revenge.

Bibliography

Cape Fear (1962) Directed by J. Lee-Thompson. USA: Melville-Talbot Productions

Cape Fear (1991) Directed by Martin Scorsese. USA: Amblin Entertainment

Gritten, D (2008) Halliwell’s; The Movies That Matter. Harper Collins Publishers.

Kelly, M (1992) Martin Scorsese; A Journey. Secker & Warburg. (Chapter 10)

Recently

'HAPPY BIRTHDAY' mine and Gustav Newby's first film together was completed a while back just so you know, and will be put on to the internet asap. I have been a little slack with it as I don't know how to upload it and Ciaran O'Brien has been worked off his feet. But don't threat it will be ready for your viewing pleasure as soon as it touches the inter web a link will be posted here. Maybe tonight even... I have already started writing a script for a feature length, hopefully in 10 years it may even see the light of day.

'THE RAPE TAPE' which for the sake of this blog is the debut album of the Unusual Suspects, which consists of myself Lord Measle and Freddie Cruger, is an 18 track masterpiece, yet to be completed. However, things have been moving a little slow due to huge cash flow problems, which mean I can hardly support myself to eat, have led to a lack of money for our big collaboration, the final beat and recording time. However, most of it has been recorded and after the last few tracks have been recorded we are going to move straight in to mixing and mastering while still finishing up the last few tunes. At the same time we will be finishing 'PRE RAPE TAPE' filled with dubs and a sampler of the album.

'WORK FUN WORK EXPERIENCE WORK' recently I have done two very interesting pieces of work experience. The first being filming, 'Mastering Hollywood' a seminar given by Doug Chamberlin one of the writers of Toy Story 2, the guy who turned down writing Harry Potter's screenplay. This was a great experience as not only did me and Ciaran get to sit in on an amasing seminar worth £200, but we got to know Doug and his wife quite well, who were very welcoming people, and a professional reference when we need it, which is great.

The other even though student based, was produced by Chris Jury, an eastenders director. It was hectic shot over the period of 5 days to produce 5, 5 minute webisodes, that will also work as a pilot for television. Hopefully it becomes successful, as then more episodes will be filmed this year. During the production, I worked as the sound recordist, boom operator and production assistant. Working in sound I worked with professional sound recordist, David Ferguson who taught me a lot, which was great experience and Liquid soap was good fun. It even was on BBC news!


My Credable Work So Far:

Liquid Soap - Episode 1-5 (2009) - Sound Recordist

'Mastering Hollywood' Seminar with Doug Chamberlin (2009) - Camera Operator

Happy Birthday (2009) - Co-Director (w/ Gustav Newby)

MET Anti-Knife Crime (2009) (AD) – Locations

Stand Up For Love (2009) - Runner

Quietus (2008) - Runner

Mobile (2007) (TV) - Locations

Congratulations to the director of Quietus George Taylor for getting nominated and shortlisted in many film festivals in the UK.

Recommended film: Bad Boy Bubby (1993) Rolf de Heer
Recommended album: Melodies for Children, Jak Progresso