What are the most significant features of film noir in “On the Waterfront” and “Double Indemnity”?

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James Trebilco

What are the most significant features of film noir in “On the Waterfront” and “Double Indemnity”?        

        It is evident that certain features combine to portray moods and feelings to the spectator. The black/dark elements of film noir portray the history of America through the 1930’s. The sinister character publicizes the unemployment and the depression, and then the affluent prosper of America is shown by the decorum of the pure character. Billy Wilder (Double Indemnity) and Elia Kazan (On the Waterfront) both have incorporated all of the general themes of film noir to produce skilful relations to powerful emotions.

        Being the theme of the film genre – film noir (black film) embraces the fact of black – light or lack of. The use of shadow to depict each character is a substantial part of either film. The way light falls upon, or the context that the light is in, is subdued but recognisable. Venetian blinds are used several times throughout “Double Indemnity” these reveal the isolation and entrapment of the character at that instance. It is a motif that is shown several times relating the burdens that are carried to being in prison. The lighting and music is linked very closely – at the beginning of “Double Indemnity” there is a scene where it is all white and the music is vivacious and pleasant, signifying purity and freedom, there are no enclosed spaces and it is fine weather.

        Yet again the shadows that are cast alert the audience that there is a burden, the shadow cast upon the face in the opening scene of Billy Wilder’s film where the male protagonist, Walter Neff, is in real time there is a encumbrance and he is troubled. There is evidence also of this in “On the Waterfront” where Terry has been called out into the dark alley where the lighting warns the spectators that something grave is about to happen. The temperature of the place is related to the lighting, atmosphere and music of the scene, for example when Walter Neff walks into the insurance building its is raining, putting a dampener on the aura.

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        Clichés happen at the end of both films. In Kazan’s film the cliché makes the audience feel good by the way that the good guy wins and the bad guy loses, the line ”lets go to work” is spoken by the work co-ordinator with Jonny Friendly being left on his own on the outside with everybody who has been depressed now in work. This is a utopia for the communist. In Wilder’s film Keys says ”Closer than that” to which Neff replies “I love you too” showing that there is a bond between them and that the fact that it ...

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