Some film noir academics dispute the widely held view that the “expanding cycle of hard-boiled and cynical films” (as Bosley Crowther described them in the New York Times in his May 1946 review of The Blue Dahlia) produced in Hollywood in the immediate post-war period, necessarily reflected a darker pessimistic mood in American society in the shadow of WW2, as there was still plenty of Hollywood’s traditional romantic and escapist fare screening in the US at the time, and that the movies retroactively labelled as film noir were not big box office.
Mike Chopra-Grant in his 2006 book, ‘Hollywood Genres and Postwar America’, put this view as follows (my emphasis):
“when I began to look at the rental revenues earned by films in the American market in 1946 no single mood or tone could be identified that uniformly characterized all of the most popular films, although the dominance of musicals and comedies suggested a lighter and more exuberant mood than the emphasis on film noir in academic writing would suggest… Despite the inconsistency between the number of upbeat musicals and comedies among the most popular films of the early postwar period and the “mood” of that period suggested by much film noir scholarship, I do not entirely reject the suggestion that the “tough” movie represents one response to the disruptions and uncertainties of the wartime and postwar period. I do, however, take issue with the suggestion that this kind of film represented the typical response of Hollywood filmmakers, and with the implication that the “tough” movie captured the zeitgeist of American culture in the period after the Second World War: the evidence provided by the popular films suggests otherwise, and in the contradictory impressions of the period presented by the combination of the most popular films and the “tough” movies the very notion of zeitgeist is revealed to be highly problematic… Although explaining these films in vague sociological terms, as a manifestation of historically existing social anxieties, produces an inadequate account of their place within the wider culture, examination of these “tough” movies in relation to the specific themes and discourses already discussed in relation to the popular films of the period does provide a way of understanding the position of film noir within its historical setting without the need to resort to common-sense truisms about the “mood” of the culture.”
On the other side and in the same year in her book ‘Blackout: World War II and the Origins of Film Noir’, Sheri Chinen Biesen argues that the dark expressionism of crime movies that started to appear during WW2 arose out of the economic constraints imposed on Hollywood by the war effort, such as the shortage of film stock and electricity rationing, dark lighting to hide cheap sets, and other deprivations, together with growing audience demand for “red meat” entertainment.
The other day I was idly ‘flipping’ through on-line archive copies of The Film Daily, a Hollywood trade journal of the period, and came across an interesting tabulation in the Friday May 23, 1947 issue: The Broadway Run Score Board comparing the weekly runs of new release movies in Broadway cinemas for the periods Jan-June 1946 and Jan-May 1947. The Scorecards are reproduced at the end of this article. I have highlighted all the movies that are now identified as films noir. There are quite a number, and more than a few had exceptional runs. Some prestige noirs did very well. Clearly, there was something going on.
How we account for these numbers I leave to the experts, but I do have a view which I set out in my article What is Film Noir. Basically, while many see film noir originating in post-WW2 trauma, I believe the origins of film noir lie largely elsewhere. Film noir was a manifestation of the fear, despair and loneliness at the core of American life apparent well before the first shot was fired in WW2. This is not to say that the experience of WW2 did not influence or inform the themes and development of the noir cycle in the post-war period. The origins of film noir and why it flowered where and when it did are complex, and we can’t be definitive, but it is fairly evident that noir emerged before the US entered the War, and had it’s origins principally in the new wave of émigré European directors and cinematographers, who fashioned a new kind of cinema from the gangster flick of the 30’s and the pre-War hard-boiled novels of Dashiell Hammett, Raymond Chandler, James M. Cain, and Cornel Woolrich. We can also clearly see the influence of German expressionism, the burgeoning knowledge of psychology and its motifs, and precursors in the French poetic realist films of the 30’s. Noir was about the other, the “dark self” and the alienation in the modern American city manifested in psychosis, criminality, and paranoia. It was also born of an existential despair which had more to do with the desperate loneliness of urban life in the aftermath of the Depression.
The Score Boards – Double-click on the image to zoom:
3 thoughts on “1946: The numbers and the when and why of Film Noir”
“Film noir was a manifestation of the fear, despair and loneliness at the core of American life apparent well before the first shot was fired in WW2.” — Yes, a very important point. Nice post!
Stupendous post! Brilliant research! Completely agree on the assessment, which as you note has some support from the scribes. The time understandable had some cynical thinkers. Ah those now defunct NYC theaters. They were true cultural landmarks.