Noir, now and then : film noir originals and remakes, (1944-1999)

This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic __Double Indemnity__ and concluding with Jim McBride's __Breathless__. In-depth analysis of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. The most significant films since 1944 are reviewed and reveal the ever-changing values in American society. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art. This work will appeal to film scholars and to fans of film noir. Filmogrpahies and video information follow each chapter. Appendices briefly explain the roots of many noir films discussed in the text along with their subsequent remakes. Contents 6 Acknowledgments 8 Introduction 10 1 Double Indemnity (1944, 1954 [TV], 1960 [TV], 1973 [TV]), and Body Heat (1981) 15 2 Murder, My Sweet (1944) and Farewell, My Lovely (1975) 20 3 Detour (1945, 1992) 25 4 The Big Sleep (1945/ 1946, 1978) 29 5 Notorious (1946, 1992 [TV]) 34 6 The Postman Always Rings Twice (1946, 1981) 38 7 The Killers (1946, 1964) 43 8 Somewhere in the Night (1946) and The Crooked Way (1949) 47 9 Body and Soul (1947, 1981, 1998 [TV]) 52 10 Dark Passage (1947) and Johnny Handsome (1989) 56 11 Kiss of Death (1947, 1995) and The Fiend Who Walked the West (1958) 61 12 Out of the Past (1947) and Against All Odds (1984) 66 13 Ride the Pink Horse (1947) and The Hanged Man (1964 [TV]) 71 14 The Big Clock (1948) and No Way Out (1987) 74 15 They Live by Night (1948) and Thieves Like Us (1974) 79 16 Criss Cross (1949) and The Underneath (1995) 82 17 Gun Crazy (1949) and Guncrazy (1992) 87 18 House of Strangers (1949) and Broken Lance (1954) 93 19 The Asphalt Jungle (1950), The Badlanders (1958), Cairo (1963), and Cool Breeze (1972) 97 20 DK OK A . (1950, 1988) and Color Me Dead (1969) 104 21 Night and the City (1950, 1992) 109 22 No Man of Her Own (1950), I Married a Shadow (1982), While You Were Sleeping (1995), and MrsK Winterbourne (1996) 113 23 The Prowler (1951) and Unlawful Entry (1992) 118 24 The Narrow Margin (1952) and Narrow Margin (1990) 123 25 The Blue Gardenia (1953) and The Morning After (1986) 127 26 Inferno (1953) and Ordeal (1973 [TV]) 130 27 Iq The Jury (1953, 1982) 134 28 Rear Window (1954, 1998 [TV]) 138 29 Les Diaboliques (1955), Reyections of Murder (1974 [TV]), House of Secrets (1993 [TV]), and Diabolique (1996) 142 30 The Desperate Hours (1955) and Desperate Hours (1990) 149 31 Night of the Hunter (1955, 1991 [TV]) 154 32 A Kiss Before Dying (1956, 1991) 160 33 Ransom (1956, 1996) 164 34 Vertigo (1958) and Mirage (1995) 169 35 A Bout de Souffle (aka Breathless , 1960) and Breathless (1981) 174 Conclusion 178 Appendix A From Plays, Mysteries, Melodramas, Thrillers, Pre- Noir to Film Noir 183 Appendix B From Thriller, Horror, Caper, Suspense, Neo- Noir to New Noir Remake 200 Selected Bibliography 212 Index 214

This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBride's Breathless. In-depth analysis of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. The most significant films since 1944 are reviewed and reveal the ever-changing values in American society. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art.

This work will appeal to film scholars and to fans of film noir. Filmogrpahies and video information follow each chapter. Appendices briefly explain the roots of many noir films discussed in the text along with their subsequent remakes.