According to Tim Dirks, from his website filmsite.org, film noir (or black film) is a style of cinema reflecting the “fear, mistrust, bleakness, loss of innocence, despair, [and] paranoia” beginning in America film surrounding WWII (primarily, the 1940s, but more broadly beginning in the late 1930s and extending into the 1950s). Dirks mentions these classic film noirs—which were visually dark, relying heavily on shadows and fog—“were a metaphoric symptom of society’s evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice.” Classic film noirs are typically crime dramas that explore sexual tensions between characters and “rarely [have] happy or optimistic endings.”
When reading Dirks’ article—which can be read in full by clicking here—it may seem simple to understand film noir, and easy to identify cinematic examples of this filmmaking style. Although some films are obvious, quintessential noirs, such as The Big Sleep (1946) and Double Indemnity (1944), one of Hollywood’s most successful films still sparks heated debates among fans and critics as to whether or not it is film noir.
Michael Curtiz’s Casablanca (1942) is generally not considered film noir, however, the film’s visual technique and thematic content are classic noir style. Casablanca is dark, both literally and thematically; shadows and fog are present in many of the film’s most memorable scenes. Additionally, the film brilliantly expresses the fear, bleakness, and despair Dirks identifies as idyllic noir; moreover, the evils of society, moral conflicts, and sexual tensions are palpable in the film.
Nevertheless, although these qualities are undeniably present in Casablanca, a film must contain more than the style and themes of noir to actually be noir. Noir qualities must be intentionally unified so the film, as a whole, leaves the audience with a sense of purposelessness and disparity. As desolate and gloomy as Casablanca is, the film’s ending, although sad, is hopeful and courageous. The film’s concluding message contradicts quintessential film noir and ultimately separates Casablanca from this film style.
However, the debate still rages on, and if you are interested in exploring Casablanca’s relationship with film noir more, or simply want to see the classic on the big screen, Bow-Tie Criterion (Temple Street, New Haven) will show it twice this weekend. As part of the “Movies & Mimosas” event, Bow-Time presents Casablanca at 11:30am both Saturday and Sunday (arrive at 11am for a pre-screening mimosa).
Enjoy the show!
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