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Recommended: An essay on film noir
The Big Lebowski Raises a Glass to Classic Film Noir
On the surface, The Big Lebowski might look like a simple stoner comedy, but with closer inspection the film possess sharp undertones of film noir. The Coen Brothers were inspired by film noir when making their movie, The Big Lebowski. Their main inspiration came from Raymond Chandler’s, The Big Sleep, with mix-match patches of other classic film noirs. The Big Lebowski is a playful, modernized, and loose form of noir film. With that said, The Big Lebowski, is a tribute to the themes of classic film noirs.
The inspiration of other classic noir films is apparent in the Big Lebowski. The Big Lebowski doesn’t only parallel The Big Sleep but other classic film noirs. For example, a classic film by Alfred Hitchcock is reflected in the themes of the movie. The beginning plot of The Big Lebowski is inspired by Hitchcock’s North by Northwest, “in which the wrong man is involved in intrigue through a case of mistaken identity and must rise to the task.”(Tyree, Walters 46) The Big Lebowski also mocks, “the technique used in Hitchcock’s film to expose impressions of previous writing on pads of paper.”(Tyree, Walters 46) This mocks Hitchcock, because what appears is not a clue but a pornographic doodle. There are patches of other films implanted in Lebowski, “like Ivan Passer’s nouveau noir Cutter’s Way (1981), in which a young, svelte, muscular Jeff Bridges plays a beach bum gigolo with an angry and abusive Vietnam vet pal.”(Tyree, Walters 47). This parallels The Big Lebowski, due to the fact that the Dude’s best friend is an angry and abusive Vietnam vet, and both protagonists are played by Jeff Bridges. Another example appears in a scene of The Maltese Falcon. In The Maltese Falcon, Sa...
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...rature could flourish…” (Tyree, Walters 44). The Coen brothers and Chandler are similar in their groundbreaking styles and tendencies go a bit off the regular film templates.
Works Cited
Coen, Ethan, and Joel Coen. The Big Lebowski. London: Faber and Faber Limited, 1998. Print.
Rabinowitz, Paula. Black & White & Noir. New York: Columbia University Press, 2002. Print.
Selby, Spencer. Dark City: The Film Noir. Jefferson, NC: McFarland & Company, Inc., 1984.
Print.
Stephens, Michael L.. Film Noir: A Comprehensive, Illustrated Reference to Movies, Terms and
Persons. 1961. Reprint. Jefferson, NC: McFarland & Company, Inc., 1995. Print.
The Big Sleep. Dir. Howard Hawks. Perf. Humphrey Bogart, Lauren Bacall. Warner Bros., 1946.
Video File.
Tyree, J.M., and Ben Walters. BFI Film Classic: The Big Lebowski. 2007. Reprint. London:
British Film Institute, 2012. Print.
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
Roman Polanski's 1974 film, 'Chinatown', revolutionized the film noir genre. Aside from the absense of voice-over, the film shares all the same characteristics with earlier noirs. That is, of course, except for the fact that ?Chinatown? is filmed in color. Because of this, it is more difficult upon the first viewing to immediately classify the movie to this genre. In movies such as ?Double Indemnity? even scenes that take place during the daytime are dark, and since it is a black and white film, this is easy to do. However, in a film with color it is much harder to create this dark effect, especially in scenes that are filmed outdoors. Polanski makes references to symbols that remind the audience that although ?Chinatown? is in color, it still belongs in the genre. For example, one of the first lines in the movie is, ?I just had [the venetian blinds] installed on Wednesday.? Venetian blinds are often seen in the genre, and the reference immediately makes the connection between this...
Robert B. Ray categorizes Casablanca as "the most typical" American film. Ray uses Casablanca as a tutor text for what he calls the formal paradigm of Classical Hollywood as well as the thematic paradigm that addresses the conflict between isolationism and communitarian participation. The film is typical in its appropriation of an official hero Laszlo, who stands for the civilizing values of home and community, and an outlaw hero Rick, who stands for individu...
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
Janey Place and Lowell Peterson article “Some Visual Motifs of Film Noir” establishes noir as a visual style and not a ...
Character development is an essential component to a successful film. This thorough and elaborate character development is a reason why diverse audiences are able to watch these films more than once. Joel and Ethan Coen, and Quentin Tarantino are all writers and directors that execute the theme of character driven films almost to perfection. The films O Brother, Where Art Thou, written and directed by the Coen Brothers, and Pulp Fiction, written and directed by Quentin Tarantino, exemplify this.
Howard Hawks chose to film The Big Sleep in the genre of film noir; this seemed like the obvious choice for a hardboiled detective novel. Film noir is the "'dark film,' a term applied by French critics to [the] type of American film, usually in the detective of thriller genre, with low-key lighting and a somber mood" (Bordwell 479). By using this genre of filmmaking, Hawks had an effective vehicle with which to retain the tone of Chand...
Hawks' version of The Big Sleep is known to be one of the best examples of the film genre-film noir. "Film noir (literally 'black film,' from French critics who noticed how dark and black the looks and themes were of these films) is a style of American films which evolved in the 1940s." (The Internet Movie Database LTD). Film noir typically contains melancholy, and not so moral themes. Another characteristic of film noir is just because the main character has the title hero, that does not mean that he will always be alive at the end of the book, or that the hero is always "good." Marlowe in The Big Sleep is a prime example of this concept. In the novel it is questionable how lawfully moral he actually is, concerning the situation of turning Carmen into the police for killing Sean Regan. This aspect of Marlowe's character added yet another difficult task of formatting The Big Sleep to the big screen-the question of how the audience (media) might react to such a personality trait was now placed before the writing staff (IE production codes).
... and negative associations within the genre. Even with the obvious differences, both styles have borrowed concepts from the other, enriching each of their popularity in cinema.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
There are many things the text and movie share and differ from each other on so let’s talk about that. One similarity of the text and movie is that they both have the same background
Twelfth Night. Dir. Trevor Nunn. Perf. Helena Bonham Carter, Richard E. Grant and Imogen Stubbs. Fine Line Features, 1996. Videocassette.
As a nostalgic reaction to pieces of a past culture may celebrate another time, but also offer personal comfort in the present, the past may be widely celebrated by connecting past pop culture with the present culture. This form of nostalgia uses memories of an era’s success and continues to attempt to uphold it in a permanent celebratory remembrance of cultural impact. In Pulp Fiction, the film plays homage to some of the great films of the past. The film is enhanced by use of pastiche, incorporating films that have brought joy and excitement to viewers for decades. In Pulp Fiction, the dark suits, skinny ties, the camera shots of the guns, and the slow, sinister apartment massacre is reminiscent of gangster films from the 1950s and 1960s. Honeybunny and “””” ‘s storylines are resented during the beginning and end of the film, their love story is intermingled with their lust for crime, specifically robbery, is a comedic twist to the Bonnie and Clyde. John Travolta gets to recollect on his own success in films “Grease” and “Saturday Night Live”, by re-creating a dance competition, in which he leaves victorious. Butch, a misunderstood boxer is placed in the most scenes mimicking great films from the past. As Butch takes a taxi from his big boxing match, is clearly a steal from the 1987 film, Taxi Driver. The style of the taxi along with the seating position of the “FARE” and the dark conversation is heavily
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Stone, Oliver (director), & Pressman, Edward (Producer). (1987). Wall Street [Motion Picture]. Retrieved June 25, 2011, from http://netflix.com