Stereotypes In Film Noir Movies

The Hays Production Code of 1930 America asserted that “No picture shall be produced that will lower the moral standards of those who see it,” “The sanctity of the institution of marriage and the home shall be upheld,” and “Sex perversion or any inference to it is forbidden.” Such restrictions crippled the film industry’s ability to overtly display homosexuality, a “sexually perverse act.” But film producers increasingly found reasons to use homosexual characters. Film Noir movies were B-rated movies that weren’t considered as high-caliber movies as the A-listers, so they weren’t as heavily monitored. Film Noir directors used this to their full advantage. With greater freedom to experiment, they tried things that A-listers wouldn’t or couldn’t. Noir in its experimental essence fit perfectly with the struggle to figure out a character’s sexual identity. Often by trying to define a character through stereotypes, the confusion was even more glaring. This confusion of character identity and true intentions added to obfuscate the order of the narrative and what was taking place within it. In films such as Laura and Mildred Pierce the character’s unresolved sexual tension, due to emotions/ desires that are constantly thwarted, lead them down

a road of criminal behavior, which can only be assuaged through either their conformity or their downfall (Dyer 90-115).
One of the major driving stereotypical forces in identifying a “queer” character was the association between luxury and homosexuality that hinted at underlying sexual tension. In Laura, Waldo Lydecker is surrounded by opulence from the way his apartment is adorned to the way that he adorns Laura. The opening shot of the movie displays a glass cabinet with Waldo’s private antique collection that Detective McPherson studies intently. This indicates that McPherson is on the outside of something looking in. He is the typical all- American guy that symbolically represents the realist, hard-edged attitude that America has toward feminized men atypical of the normal masculine roles of society dominant at that time. Waldo’s spending habits aren’t curbed however as, like the classic antiques, he extends his own private collection of things he values most to include Laura. Waldo includes Laura in this world of luxury as he boosts her successes in the advertising business, buys her an elaborate wardrobe to take her to dinner parties, and introduces her to other clients. Waldo’s immersion of Laura into his world of luxury is a result of his own identity crisis. Through Laura, he vicariously lives out the life he can’t because his own uncertainty about himself inhibits him (Engelmann 12-20). He can’t talk to people the way Laura can, easily flow through the ranks, dance and be relaxed with people. Waldo is tense and ill at ease. Despite all his wealth, he can’t buy his own happiness. Laura becomes the personification of his refined lavish ideals.
Similarly, Mildred Pierce’s constant consumption could be described as an outlet for her sexual identity crisis. In the beginning of the movie, Mildred and Bert are arguing about the fact that Mildred spent all the money she made on pies and cakes and getting a new dress for Vida. “My children come first and if you can’t accept that, then leave.” Though the pretext for the separation is the fact that Bert doesn’t have a job, they are really arguing about Mildred’s spoiling of Vida. Just as Waldo invests all his resources in Laura in an effort to secure her place in his life, Mildred invests all her resources in Vida to give her the life she desires so she will stay with Mildred. After Kay’s death, Mildred continues her spending habits. She works twice as hard: establishing her restaurant chain, paying for Vida’s singing lessons and supporting her expensive lifestyle of wining and dining. Like Waldo, Mildred’s consumption represents her own sexual identity crisis, that no matter what she does, she can’t seem to buy Vida’s love. The more Vida rebuffs her, the more Mildred seems willing to do whatever is necessary to secure her daughter’s affection, even marrying Monty in order to give Vida the palace she wants so she will come back home.
Despite Mildred’s life of luxury, she can’t buy her own happiness. And like Waldo in his relationship with Laura, the more distanced that Vida becomes, the more obsessed Mildred becomes with winning her back. Mildred can see that she is losing Vida as she adopts the unconcerned, cold, unattached mannerisms that she thinks that Monty wants. Vida tries to look grown-up and independent as she begins to drink and smoke cigarettes, in front of her mother. Despite the fact that her business is failing, Mildred continues to lend Monty money. She buys Vida an expensive sportscar that Vida likes very much like. But Monty quickly points out that he bought the car and Vida turns to Monty in gratitude. She takes him by the arm, as if they are a couple, and symbolically as if her connection with her mother is forever broken. But Mildred doesn’t let them walk out that door. She promptly calls Monty back into the room, gives him a check and tells him to not mess with her or her daughter again. He merely responds that Vida can do what she wants. This is not merely a rivalry for Vida’s affection, it is a rivalry for Vida’s romantic love. It seems to Mildred that the only option she has to reclaim Vida’s love is by marrying Monty ( Corber 21-23).
Unlike Waldo and Mildred Pierce, Joel Cairo demonstrates none of the uncertainty that is characteristic of most film noir. He is perfectly at ease with himself. He overtly revels in his feminized consumption of things. He greets Sam Spade with a perfumed calling card that represents his manipulation, deceit, seduction, and sexually perverse behavior. Cairo also flaunts the markers of a luxurious lifestyle with an elegant suit, a silver brooch, white silken gloves, and a ring on his hand. He is very concerned about his physical appearance—and even speaks in a low drawling voice that is very feminine. Cairo’s consumption doesn’t increase as the movie proceeds, reflecting his more calm, steady perception of himself. He began lavishly adorned and ends that way. He doesn’t have to spend money on other people as an outlet for his sexual anxiety. In fact, he embraces his wealth and opulence as part of himself without having to invest or share it with anybody else.
Further evidence that Joel Cairo is content with his identity is that he doesn’t have to immerse himself in a relationship to feel anchored with himself. Joel Cairo is not in a heterosexual relationship and doesn’t commit his resources to another person. He does appear to be in a sort of mutually beneficial relationship with Gutman, but this is because they have the same goals, a desire to find The Maltese Falcon and Cairo thinks that he is on the winning side. He wants to increase the lavishness of his lifestyle for himself, not to entice another, but for his own gratification. When he does feel something, he doesn’t suppress it.
While it is clear that Waldo and Laura aren’t involved in a romantic relationship, Waldo feels uncomfortable having too much time for himself or conversing with other men. He uses Laura as an anchor to direct himself and then go out and live his life. When Waldo desires to go out in public, he takes Laura. When Waldo wants to meet a colleague or a group of people, he takes Laura. What Waldo most happily anticipates are those evenings when he knows that Laura will be beside him. Waldo experiences full-blown anxiety attacks when Laura starts cancelling their dinners. He feels so displaced, he is only reoriented by interactions with Laura and she is removing those opportunities.
Meanwhile, Mildred is also anxious about her sexual identity, so she cloaks herself in relationships. Her unresolved state is also indicated in her shift between masculine and feminine clothing. At the beginning of the film, Mildred wears flowing dresses consistent with the image of femininity. The beginning of the film is also when Mildred is coupled with Bert. Mildred becomes increasingly masculinized as she becomes less involved with Bert. She replaces Bert with Monty, then flirts shamelessly with Wally. Towards the end of the film breaks up with Monty and appears to be reconcile with Bert. This dissatisfaction in relationships reflects discontent within herself. Mildred feels more secure when she has somebody to return the affection that Vida fails to give her. Mildred feels so unsure of herself that she needs somebody there to make her feel worthwhile. Mildred uses men to give her the necessary confidence that she lacks is similar to the way that Waldo uses Laura to validate his own self-worth. But once this support is gone, danger ensues.
Waldo becomes dangerously obsessive of Laura and her relationships after she begins cancelling some of their dinner plans.

He begins by stalking Laura’s apartment to find out who she is spending time with. He continues to spy on her and her relationships and turns up unexpectedly as if she is his possession that he has come to claim. Then sets out to sabotage Laura and her relationships. He drives Jacobi away with a scathing article he publishes about him. He looks into Shelby’s past and is watchful of his liaisons, so he can inform Laura. He becomes increasingly obsessive, and ultimately his obsession leads him to criminal behavior, killing one of Laura’s models, who he mistakes for Laura. Finally, he attempts to end Laura’s

life.
Like Waldo, as her sources for validation dissipate, Mildred becomes volatile. Mildred becomes controlling and even hostile, anytime that someone interferes with her plan to reach Vida. When others suggest that Vida is no good, she cuts them off and even ends a marriage over it. Mildred also becomes physically aggressive, slapping her daughter, when she finds out that Vida has cooked up the fake baby scheme to obtain money to leave her. Ultimately, her unresolved desire for Vida does lead to her criminal behavior. Mildred begins by going against her conscience. When Mildred finds out Monty has robbed her of her company she takes a gun to the beach-house where Monty is. This is not necessarily driven by Monty’s betrayal, but Mildred’s impassioned commitment to her business represents her fervent commitment to Vida. She finally realizes all her efforts in both respects, have failed. But until the end, Mildred fights for Vida. She covers up murder for Vida and tries to pin the murder first on Wally, then herself. Mildred has broken both societal law and her own conscience blinded by her unabated desire for Vida.
Although Mildred Pierce never really resolves the tension within herself she adjusts when a reconciliation with her daughter is made impossible by Vida’s incarceration. The object of Mildred’s anxiety is removed, and she is finally free to return to Bert’s side, who now has a successful job. This liberates her as she is once again in her rightful place as the amiable housewife, whose husband provides the financial support.
There is no such redemption for Waldo. Although initially Waldo is accepted because he builds this illusion around himself, when he succumbs to murder, he is also giving up the pretense he has established as an amiable, sociable, companionable fellow, who never fully gives into his urges. When Laura threatens this illusion by no longer playing the role he has designed for her, Waldo attempts to resolve the tension he feels by murdering her. (She is actually Laura’s model). This fully shatters the illusion he has created, confirming his place in the criminal underworld.