“Shutter Island” and the Relation to “Memento”

       

       “Shutter Island” is a fantastic modern noir which has you on the edge of your seat the entire time.  The movies twists and turns keep you guessing as you follow Teddy Daniels, a U.S. Marshall, around the infamous Shutter Island in search of a dangerous missing woman, Rachel Solando.  Directed by Martin Scorsese, “Shutter Island” follows along a similar path as Christopher Nolan’s “Memento.”  Similar devices are used in “Shutter Island” which embodies relation to “Memento.”

        Both “Memento” and “Shutter Island” are modern noirs which fall under the category of neo-noir.  Both of these films resemble one another in more ways then one.  Both films depict the mind and story of a mentally ill person as they try to navigate around a deceiving world.  As we find out in the end, Teddy Daniels, much like Leonard has been deceived by the “friends” he had.  However, the awareness of “friend or foe” is not made clear in either film until the end.  In both films we also see a connection between Teddy and Lenny through the loss of their wife.  In both films the main component behind the problems suffered by the protagonist is love.  This component of love compels each character to tread through the problems and perils of the outside world.  In saying “outside world” I mean, outside the world of the protagonists misconstrued and misleading reality.  With Teddy believing his wife died in a fire, and Lenny believing his wife was murdered, we find that both men are wrong in their conclusions of their wife’s death.   Both characters live in a false reality which their minds perceive as correct.  Both characters subdue their pain by construing a false reality around them.  Lenny and Teddy killed their wives and have spent years living in a false reality; however both cannot be helped with each of them changing the paths of their lives at the end of the film.  With the realization of their collapsed past and their collapsing future, both protagonists in the film decide to change the outcome of their future.  At the end of the film we find that much like Lenny, Teddy decides to change his future and submit to a frontal lobotomy.  With a similar theme of “is it better to die a good man, or live on as a monster” we see Teddy take the route of dying a good man, and Lenny taking the route of living on as a monster.  Where one character seeks revenge another seeks solace. 

        “Shutter Island” and “Memento” are thought provoking films which keep the audience guessing around every turn.  Both films draw upon similar ideas and themes which help identify them as neo-noir.  The protagonist of each film takes us on a journey of misleading falsities and changing realities which ultimately provides each character to decide their future as man or monster. 

“Fargo” as a “White Noir”

       The film “Fargo,” directed by the Coen brothers is a “white noir” which plays with the conventional standards of classic noir.  The Coen brothers developed “Fargo” as a “white noir” to change the understanding of film noir and expand on the accepted classical noir.

       “Fargo” can be considered a “white noir” for many different reasons.  The opening of the movie as well as the setting has a lot to do with this film being considered a “white noir.”  In the opening of the film, we see a blurry white screen with what seem to be headlights working their way slowly through the screen and towards the camera.  The opening scene sets the tone of the “white noir” and through this we see how the Coen brothers manipulated the classic noir attributes and flipped them on their head.  The Coen brothers used white in their film much like the classic noir directors used black to outline their shots.  They used almost an opposite chiaroscuro lighting, by using the openness of the land which was caked in white snow, giving you the feeling of hopelessness and emptiness.  Rather than using cramped city streets and small alleyways the Coen brothers used the open landscape and the white snow to create a different type of world.  The open landscape with cold weather and a snowy climate lends a similar feel to that of classic noir in that it seems to entrap people.  In many scenes characters are almost bound to their cars, the setting created a harmful world around the characters using a more natural element whereas in the classic noir period the dark city setting posed the harm.  The Coen brothers construed a film which took the classic noir feel and use of lightening and completely turned it on its head while still arousing similar emotions and feelings.

       “Fargo” can most definitely be defined as a “white noir.”  The mystery of the story as well as the characters all feels noir-esque, however, the use of the snowy white setting contributed heavily much like the darkness used by many directors in classic noir films such as “The Third Man”, “Laura”, and “Shadow of a Doubt.”  Overall, the Coen brothers elaborated and developed a modern noir which advanced the ideas set by classic noir directors. 

“Blue Velvet”

 

     David Lynch’s “Blue Velvet” is a new-age film noir with a heavy storyline that keeps you guessing and guessing.  The film incorporates the use of symbolism to convey the theme of the cruel world impeding on Jeffery’s life.   Bugs and insects are a reoccurring symbol throughout the film which represents the harsh and evil world that Jeffrey is soon to experience.

       The opening scene of “Blue Velvet” is where we first encounter the use of bugs as a symbol.  In this scene Jeffery’s father collapses and the camera zooms into the ground showing bugs and beetles crawling around in the dirt.  This symbolizes the evil which is lying just beneath Jeffrey’s feet.  The bugs underneath the ground show how close heinous people are to Jeffrey without him even noticing.  There are also bugs covering the ear that Jeffrey finds while he’s walking back to his house, they represent the evil which engulfs the mysterious story of the ear.  Another scene where we see the use of bugs is when Jeffrey first enters Dorothy Vallens’ apartment dressed in the exterminator costume.  This is the first time Jeffrey comes face to face with Dorothy and is our introduction to the evil world which exists in Jeffery’s suburban neighborhood.  The attire and hair as well as the makeup used by Dorothy Vallens appears in some scenes as very beetle like or bug like, using thick eye shadow and bold black hair which pops of off her very pale complexion.  The character of Frank also looks very bug like when he wears his mask.  The last use of bugs as a symbol was in the last shot when the robin had the beetle in its mouth while perched outside the window.  This symbolized the defeat of evil and the return of peace by the robin. 

       “Blue Velvet” used the symbol of bugs to drive the plot, using them as a representation of lingering evil.  The film was consistent with using bugs as a motif for wicked people like Frank, who abused and humiliated Dorothy.  David Lynch did a spectacular job at using symbolism to drive the messages and themes behind the movie.  Overall, the film incorporated a new age noir feel, touching upon a very controversial topic while also using symbols and motifs to guide the viewer into an unforgettable experience.  

“Blade Runner”

       

       “Blade Runner” directed by Ridley Scott is a fascinating film which depicts the futuristic sci-fi version of Earth in the year 2017; where the human population has expanded out across the universe into space Colonies.  Advancements in science and technology lead to the creation of Replicants, beings which replicate the appearances and functionalities of humans, but with advanced strength and armor.  “Blade Runner” closely mimics the feel and style of George Lucas’ “Star Wars,” but in a more dramatic noir way.  The film takes the classic noir feel of the 1950’s and places it in “Star Wars”-like urban environment.  The use of urban environment and noir character type of the private eye helps to exemplify the noir style used in “Blade Runner”.

       The use of an urban environment is very prominent throughout the classic noir era.  “Blade Runner” issues a new form of an urban environment which mimics that of a city.  However, the urban environment in this film is set between huge futuristic buildings with large car-like ships that fly, and with a large mix of multi-planet people and beings.  With heavy neon lights, wet streets, and crowds of people, the urban environment in the film progresses the noir feel.  However, the city also contains areas that look very slummy and run-down with sparse lighting and crowded streets.  The use of heavy rain as well as the run down city streets gives the viewer the feeling that even in this advanced futuristic world there is still poverty and bad areas within the city.  The heavy rain and dark city nights embody similar feelings derived from the city of Vienna in “The Third Man” as well as the city in “Laura.”  Both noir films have similar urban environments to “Blade Runner.”    

       “Blade Runner” introduces us to our re-instated private eye Rick Deckard, who is a seasoned hunter of the Replicants and the top choice for Blade Runner duty.  Deckard exhibits the typical behavior associated with the noir private eye, with his witty lines and tough exterior he gives us the sense that he is always one-step ahead.  Rick Deckard portrays similar characteristics to both Holly Martins and Mark McPherson.  Deckard has the smart level headed thinking of Holly Martins as well as the stick-to-itiveness to see the case to the end.  Deckard also exhibits the tough qualities of Mark McPherson.  We see Deckard multiple times either fighting or shooting Replicants with hero-like courage.  Both Deckard and McPherson also love to drink, in both films the men can be seen drinking heavily across a few scenes.  Deckard exhibits the private-eye in a new futuristic light.  Just like Martins and McPherson, Deckard also has a love interest in the movie.  As the film proceeds, we see Deckard as he starts to fall for a Replicant named Rachel.  Deckard meets her while working on his case, just like Martins and McPherson did.  Rick Deckard is a somewhat new-age private eye, who exhibits qualities much like characters we have seen before.  “Blade Runner” embodies qualities similar to the classic noir but in a new light, using updated camera and film effects.  Overall, the film brings to light a unprecedented sci-fi drama which closely mimics the feel and qualities of a classic noir but in a new-age “Star Wars”-like universe. 

Taxi Driver

       

       Taxi Driver is a powerful film with heavy symbolism and dark underlying messages.  The symbolism and dark overtones revolve largely around the deteriorating character of Travis Bickle.  In the film we see how the city negatively effects and grows on Travis and how he deals with the evil that surrounds him.

       Throughout the film we see Travis’ character change as the city pulls him down deeper and deeper.  The city’s effect on Travis starts shortly after Travis gets his job driving a taxi.  Travis narrates telling us that he drove all over the city, accepting passengers going anywhere in the city.  He then proceeds to tell us that he works sometimes seven days a week with little to no sleep.  It is here that we start to see the city life pulling Travis’ character down.  Having just been honorably discharged from the Marines, Travis was looking for a job to spend all of his time on.  He is looking for an escape from reality, either through working or drinking.  Travis’ involvement in Vietnam has left him somewhat without purpose.  This purpose is what Travis wishes to reclaim.  We start getting hints throughout the movie of what Travis’ new purpose is going to be.  He is always talking about the “scum” which overpopulates the city.  It is mentioned multiple times that he wishes he could just “flush all of the scum out of the city.”  We start to see how the city is pulling Travis down, and how he is becoming more racist and hostile towards city patrons he sees.  After hearing from a fellow taxi driver that Travis should carry a gun, the wheels in his head start to turn, and Travis ends up buying a gun.  Travis buys multiple guns after meeting a man in his cab who is going to kill his wife because she is cheating on him with a black person.  With messages around Travis saying “We are the people,” and a constant reminder of taking matters into one’s own hands, Travis finally is prepared to eradicate the people he sees as “scum.”  We see the full blown effects of the city on Travis’ character when he is standing watching Senator Palatine’s speech.  He is wearing thick aviator sunglasses, his Vietnam jacket (which presumably has his guns hidden up the sleeves), and has cut his hair into a mohawk.  After shooting Sport, and decimating practically every male inside the brothel, Travis feels he has re-found purpose through saving Iris’ life from evil and protecting her innocence.

       After the shooting at the brothel we find out the Travis was successful and that Iris returned home and was continuing her education.  Travis survives the ordeal regardless of being shot twice, and continues to drive a taxi.  We see Travis’ transformation of a life without any purpose, to a life with purpose after he leaves Betsey on the sidewalk and drives away.  His old life (before the shooting) has been shed, and his new life (of purpose) has begun.

“Klute”: Paranoia and Surveillance

     

       “Klute” was directed by Alan Pakula and was released in 1971.  The film touches upon both the themes of paranoia and surveillance.  These themes both represent the actions infringed on Bree Daniel’s life.  They help to drive the plot as well as give the viewers a sense of reality felt by the characters in the film.

       The theme of paranoia is used throughout the film to not only place the viewer in the film but to help convey the feelings felt by Bree.  The theme of paranoia mostly centralizes around Bree’s character and at the end of the film, Peter Cable’s character too.  The cinematography in the film portrayed the theme of paranoia very well.  There are many shots which place us in the eyes of the stalker giving us a first-person point-of-view.  This is also used to give the viewer the sense of uneasiness and displacement.  Another component which drives the theme of paranoia is the music which plays as we encounter the first-person shots viewing Bree.  The music that plays is very eerie and shaky.  It comes in slow and gets louder as the scenes climax.  The music helps to give another sense of unsettlement.  The music is usually accompanied by dark shots of rooms or hallways with sparse lighting using the darkness to convey the feelings of paranoia.  We can see paranoia in the character of Peter Cable at the end of the film when he confesses that he killed Thomas Gruneman because Peter thought he was going to tell employees about the run-in with the prostitute Arlyn.  Paranoia is a major reoccurring development in the film and is contributed to the feeling’s felt by Bree Daniels and Peter Cable. 

       Surveillance is another theme which is very prevalent throughout the length of the film.  The use of surveillance revolves largely around the two characters of John Klute and Peter Cable.  However, John Klute’s use of surveillance on Bree is different from the type of surveillance used by Peter.  Klute uses his surveillance to help Bree in finding the man who seems to be stalking her.  Peter Cable uses surveillance to stalk Bree and scare her.  Both men use tape recorders to capture Bree’s voice but the intentions behind each man is different; one being malicious and one being helpful.  Peter recorded Bree both times they met.  John recorded Bree’s phone calls on various tapes.  Both men use recordings to surveil Bree.  Surveillance and paranoia go hand-in-hand in the film because they both play off of each other.  The theme of surveillance contributes to the actions infringed on Bree’s life by Peter Cable and John Klute.  “Klute” utilizes many shots and scenes which play with themes of surveillance and paranoia as they relate to the life of Bree Daniels.

“Kiss Me Deadly”

     

       Kiss Me Deadly by Robert Aldrich is a film noir which incorporates many ideals of the growing 1950’s modern era.  There are many different scenes, moments and themes in the movie which justify the influence of the modern era. Kiss Me Deadly carries film noir into the 1950’s expanding the narrow traditional noir standards into a realm of modern thought and idealism

       The mise-en-scène of Kiss Me Deadly holds the largest influence on the use modernism in the film.  There are many scenes where the mise-en-scène describes the shift towards a more modern view of thought.  The use of technology in the film helps exemplify the thoughts and motives of the 1950’s era.  The first scene displaying the use of new technology was the cars that were passing by Christina as she stood on the road in nothing but a trench coat.  After Hammer stops and Christina gets in the car, we get a better look at the new age of automobiles.  This wasn’t the typical black Al Capone low-riding mob car which was used throughout many film noirs.  The cars in this film were of its time, with extenuated features and attractive curves; it is even mentioned by Christina in the movie how cars are a reflection of the driver.  This is an exact reflection of modern thought towards automobiles as “pieces of art” with flashy colors and chrome paneling.  Another use of technology which exemplified the new American modern age was the electronics which Mike Hammer used to conduct his business.  In the apartment we can see personal camera’s lined against the wall, a portable type-writer, and an answering machine built in to the wall.  The mise-en-scène in scenes displaying Mike’s apartment are also very modern.  The furniture as well as the architecture was much different from the typical noir, with high ceilings, bright lighting, and open shots.  Another example of this new modern shift is the use of the box in the film.  The box is used as a representation of the modern times by the themes surrounding it.  The box represents the hostility of the Cold War and Communism. The box held radioactive material which may or may not be nuclear, but is supposed to represent the apocalyptic end that comes from the use of nuclear weaponry.  Overall, the film incorporates many ideals and themes of the new 1950’s era.

            Kiss Me Deadly is a classic film noir which captured the advancing age of the 1950’s and depicted it through the use of technology and symbolism.  Through the use of mise-en-scène the director was able to portray the growing modern age.  Though confusing at points, the film is very smart leaving you with a jaw-dropping ending.

“The Third Man”

“The Third Man” by Carol Reed is a film noir which heavily highlights the use of homosexuality.  Throughout the film there are many moments which portray male characters as overly effeminate and presumably homosexual.  These men are introduced as Holly Martins scours Vienna trying to solve the murder of his dear friend Harry Lyme.  Baron Kurtz and Doctor Winkel are two characters who depict the strongest portrayal of homosexuality in the film.

            The characters of Baron Kurtz and Doctor Winkel are first seen at Harry Lyme’s funeral.  They are standing side by side and very close.  Both are dressed somewhat feminine and look odd.  Holly later meets these two personally, the first being Baron Kurtz.  Holly talks with Baron to investigate what happened step by step to Harry after being hit by the car.  Kurtz is wearing a very long slender jacket that is buttoned up all the way, which has fur along the neck.  The coat is extremely feminine and looks like it is that of a woman’s.  He is also wearing very tight leather gloves, a bowtie and is carrying a small dog.  Also, the mannerisms used suggest that Kurtz is somewhat off; he doesn’t seem like someone you would trust.  This scene is very relevant regarding Kurtz and Winkel because the dog that Kurtz is holding is the same dog which is later seen in Winkel’s apartment.  It is implied that Kurtz and Winkel are in somewhat of a relationship.

            Doctor Winkel is formally introduced when Holly decides to pay him a visit at his residence.  This scene is very important in regards to Winkel’s character.  The heavy use of Dutch angles on Winkel suggests that there is something wrong with him and that there is tension.  Inside Winkel’s apartment it is very cluttered and filled with art, sculptures, clocks and other collectibles.  This is a key identifier in film noir of someone who is homosexual.  Dr. Winkel’s attitude towards Holly in this scene is very cold giving Holly only short answers in a rude manner.  In this scene Dr. Winkel strokes the wick of candle while Holly is talking to him.  Again this is a very odd mannerism which can be interpreted as a sexual gesture.  Another strong homosexual reference in the movie is when Holly sees both Kurtz and Winkel on the balcony.  Kurtz is again wearing a fur coat and gloves; he is seen standing shoulder to shoulder with Dr. Winkel.  At the end of this scene when both Kurtz and Winkel retreat into the apartment, for a split second you can see Kurtz putting his arm around Winkel before the shot fades out. 

            “The Third Man” is a fantastic film which embodies the noir style leaving you captivated throughout the entire story.  Through the use of homosexuality the film helps to displace the main character as he searches an un-known city for the facts regarding his friend’s murder.  The use of homosexuality in the characters can be seen across many points in the film.  Both Baron Kurtz and Dr. Winkel strongly portray homosexuality in this classic film noir.

“Laura”: Gender Roles and Sexuality

Otto Preminger’s Laura is a film riddled with insinuations about gender roles and homosexuality.   The film is about a detective who is investigating the murder of Laura Hunt, whom in actuality was never killed, and the search for the murderer who wrongfully killed someone.  Waldo Lydecker is Laura’s good friend who mistakenly killed Diane Redford in Laura’s apartment.  Waldo’s character is very important when discussing gender roles and homosexuality. 

Waldo Lydecker is a very smart and whimsical man who is always quick with a sassy comeback.  He is a famous writer/journalist that Laura looked up too.  Waldo’s character is very unique because he does not abide by conventional film gender roles or sexuality.  His gender role is unique because Waldo’s it fits closely with that of a strong female character more than a male.  His character is portrayed much like that of a female.  Unlike the men of the time who are quick to throw a punch or pull a gun, Waldo slanders and ruins his “enemies” lives through his column.  Waldo’s enemies are any man that tries to date or get close to Laura.  Waldo’s character is also very controlling over things.  He is very controlling over Laura and he doesn’t like things or people he cannot control.  Waldo’s character seems to be hateful and resentful towards almost all men.  It seems as though he has some type of built up frustration and irritation.

Waldo Lydecker is also an important character because of the homosexual insinuations that the movie implies.  Throughout the film there are many hints and clues that led you to believe Waldo’s character is homosexual.  The first scene with Waldo takes place in his bathroom with him in the tub.  Waldo is completely nude and openly talking with detective Mark McPherson.  He then gets out of the tub, and has Mark hand him a robe to put on.  Waldo’s house is also very lavish.  It is filled with art, statues, fancy curtains and furniture.  He keeps everything very clean and takes very good care of his artwork and statues.  This is a key insight into the characters sexuality, because film regulations at the time limited characters from being outright homosexual.  This led to directors finding ways to portray the sexuality of a character through his belongings and attire.  Waldo’s attire in the film is also somewhat effeminate.  He is always seen with a big white flower on the lapel of his coats.  Waldo’s interest in art can be seen when he asks detective McPherson for his vase and his clock back from Laura’s apartment.  Waldo’s character touches upon not only gender roles but the role of sexuality in film.  Laura is a fantastic film noir which keeps you active in your search for gender roles and sexuality regarding the characters.”

“Shadow of a Doubt” easily overlooked Symbols

Alfred Hitchcock’s “Shadow of a Doubt” is a film noir which journeys through the tale of Charlie Oakley and his endeavors while staying at his older sister’s house in Santa Rosa, California.  Little does everyone know that Charlie is not the man he is made up to be.  Throughout the film there is a heavy influence of symbolism which can be easily overlooked.  Two of the most important symbols are the hand of cards played by the doctor on the train and the character of Herbie Hawkins.

In the film, when Charlie is going to visit his sister Emma, Charlie pretends to be ill so that he does not have to come in contact with any other train passengers.  During this scene it shows a group of three people playing what is assumed to be bridge or another card game close to it.  The passengers playing are bickering at the Doctor about helping Charlie with his illness.  Luckily for Charlie, the doctor refuses saying that he is on his vacation for a reason.  There is then a shot of a hand of cards, all Spades, a full house.  The best hand you can get.  This scene serves as a very important symbol for Charlie Oakley.  Just like the people playing, Charlie seems to have the best hand over his family.  They have no clue about his other life “in the east.”  The cards are important because just like everyone on the train, Charlie has everyone fooled, including his family he is soon to be staying with.  Another way this can be interpreted is that he is on his last hand.  With a hand of cards like that, the game would be over once played.  Just like Charlie, this trip to Santa Rosa is his last hand, and once it is played the game will be over.  As we can see, Charlie never really does get to leave Santa Rosa because of his death after falling out of the moving train car.

Herbie Hawkins unseeingly is an important character because he is at the opposite end of the spectrum that Charlie Oakley is.  Herbie, like Charlie is somewhat obsessed with the idea of murder.  Throughout the film Joe and Herbie discuss different methods and ways to kill people and how to not get caught.  Herbie’s character, unlike Charlie’s, does not actually murder people.  In fact Herbie saves young Charlie’s life from the garage when it was filling with car exhaust.  The symbolism here is not only that Herbie’s character is supposed to represent a man who is also obsessed with murder but does not actually murder people, but that Herbie foreshadows how Charlie will die.  Herbie, throughout the movie would tell Joe that he would kill people and make it look like an accident so that he would not get caught.  Young Charlie, when thrusting away from Uncle Charlie, causes Uncle Charlie to slip out the train door and into an oncoming train.  Herbie is opposite man of Charlie, very soft-spoken and always appearing at the wrong time.  Whereas Charlie seemed to have showed up at the perfect time and seems to enthrall everyone in the family as well as in Santa Cruz.  Herbie’s character is important because he portrays the more common type man that Charlie could have been.  is easily overlooked do to his quietness and almost humorous attitude and personality.