The Illusion of Depth

In case you hadn't noticed by now, Noir of the 1950s found itself increasingly obsessed with "law-enforcement" types (Detectives, transit cops, postal inspectors) sometimes to the point of absurdity. Last week's Appointment With Danger most definitely lives at the "absurd" end of the spectrum (with its bebop-loving floozy and its vaguely supercilious Nun) but it still reflects the mindset of the era; an era in which Law Enforcement was becoming increasingly unfettered in its zeal to eliminate undesirable elements of American society. Alan Ladd's intrepid postal inspector isn't a noir protagonist so much as a comic book superhero , battling evil and smashing in heads wherever there is Foul Play going on.  We never have to fear for his safety, because he has Truth and Justice on his side (and a Nun to be his conscience!). Criminals, bank robbers and international Communists have no hope against this type of justice warrior.  Beware, Evil-doers... wher...

Those of you who have been following my exploration of "Noir" cinema over the past few months will have heard me discuss Noir as Tragedy , in the grand, classical sense. In films such as Double Indemnity, The Killers, Criss Cross, Hollow Triumph or Out of the Past , the protagonist is someone (often sympathetic) who finds himself on the wrong side of Justice, and must inevitably pay a price at the end of the story.  However comprehensible their story, however much we might want to see them succeed, we know deep down that they will never be allowed to escape punishment, because there was an inflexible moral code in force in Hollywood at that time. In a very practical sense, the Hays Office acted as Divine Judgement for these characters.  "Noir" of the 1950s felt different. I have already screened The Narrow Margin and Union Station (both of which are often described as "noirs") whose heroes are "law enforcement" types: a detective and a transit ...

Most of the action in The Narrow Margin (which we screened last week) takes place on a train, as hired killers try to locate and silence the widow of a mob boss before she can give testimony before a grand jury. Protecting her (more or less) is the tough, grizzled detective who is prepared to do anything to make sure she reaches the witness box in once piece. By the time the train reaches Union Station, the killers have been foiled, the witness is safe, and justice has prevailed. Ah, if life were only like this. But train stations are busy places. Lots of trains are arriving all the time, and there are many stories to be told. This week's film places the station itself at the centre of the story, but once again concerns itself with those who would keep us safe from the dark forces that threaten Freedom, Liberty and all that good stuff that was apparently so fragile in the early 1950s. Union Station concerns itself with Lieutenant William "Willy" Calhoun (William Holden)...