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Back in its heyday --- before trailers, TV campaigns and the Internet --- movie-goers had to base their decisions on the print advertising, posters and other artwork for upcoming films. Studios made calculated decisions on what elements they wanted to use to draw in the crowd. What should they emphasize: the stars? the story? the exotic locale?
This was especially true for the film noir genre. Its dark nature, brooding heroes and cold-blooded bad guys (or was it the other way around?) made it a natural for such graphic renderings. In addition to their complex stories, the films came with their own set of advertising problems: how could they portray the inherent violence and sex in a manner that would draw an audience while, at the same time, fall within a level acceptable to the production code and censors.
Eddie Muller, an expert in the genre, has compiled THE ART OF NOIR, a heavyweight (literally) compilation of scores of examples of this specialized work. Muller defines the noir genre as a pairing of "the deeply shadowed, expressionistic vision of expatriate European directors" following World War II "with the cynical hardboiled school of American fiction." Using examples of "paper" --- the posters, lobby cards and other graphics --- the author presents his case in a manner that appeals to movie buffs, mystery fans and psychology students in equal measure.
Most interesting is how artwork for the same film is presented in different venues. Europe, for example, was more sophisticated when it came to depicting sex in the film (relative to the era), but was more timid when it came to highlighting any political aspects. Certain elements, Muller states, are present in most of his examples. "Maybe I should have called [the book] Gats and Gams. A cursory shuffle through these pages will reveal a cavalcade of thrusting firearms and illicitly exposed legs." In addition, many illustrations include careening cars, suggesting a chase, or sinister night scenes on the streets of an uncaring city; shadows are also indicative of the unknown terrors that await.
The advertisements also promised forbidden (yet acceptable) levels of violence between the sexes: there are several examples of men with their hands around the necks of women, women being menaced or chased and other threatening acts. On the other hand, there are also shots of men in protective postures, holding a woman in one arm while brandishing a weapon in the other hand.
Women in noir art are cast in one of two veins: victim or temptress. They are easy to tell apart; the victim usually has a hand raised to her face in a defense gesture and/or a look of terror in her eyes, while the temptress stares out at the viewer with bedroom eyes, a flash of leg or décolletage (the more flesh exposed, the more dangerous the female) and a gun held by her side.
Fuller shows the styles employed by the various studios, more elaborate graphics being used by those with bigger budgets and for "A" list movies. Among the other breakdowns he makes are the use of classic film noir actors as the selling point: Humphrey Bogart, Alan Ladd, Burt Lancaster, Barbara Stanwyck, Joan Crawford, as well as "The Usual Suspects: Noir's Most Recognized Faces," featuring many whose names are recognized only by those with an affinity for this genre. He also offers a detailed discussion on the "thematic and iconographic elements of film noir" and pays homage to those fiction writers and directors who helped millions enjoy these guilty pleasures.
THE ART OF NOIR is a marvelous addition to any film buff's library. As the Academy hands out the Oscars to films that might be recognized as classics for future generations of cinema fans, Muller's opus gives a knowing nod of appreciation to an important part of the industry's past.
--- Reviewed by Ron Kaplan (ronk23@aol.com)
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