Beruflich Dokumente
Kultur Dokumente
1. Expressionism
Film noir is notoriously difficult to define, but so too is Expressionism. Art
historian John Willetts description of the elusiveness of Expressionism could be
transposed, without many changes, to film noir:
Expressionism was never, like Futurism or Surrealism, a conscious grouping
which can be related to a common program (however loosely worded) or to
certain collective demonstrations and publications. It is one of those rarer
concepts which get used more or less retrospectively to describe something
already felt to be happening, or else a permanent basic element in all art which the
times seemed to have brought to the surface. [...] Some of the very people whom
any outsider would at once associate with it became the keenest to disown it. 7
Keeping in mind that there are wide differences of opinion on the subject, Expressionism
in Germany is generally considered to have started around 1905 with the artists of Die
Brcke (The Bridge) in Dresden, founded by architecture students Ernst Ludwig
Kirchner, Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff, joined by others including
Emil Nolde and Max Pechstein. They moved to Berlin in 1911, where they lived, worked
and held exhibitions together until 1913 when the group disbanded. Their 1906
manifesto announced their passion for art and a burning desire to free themselves from
the constraints of social convention; they sought to establish a bridge to the future. 8 A
second group, Der Blaue Reiter (The Blue Rider) was founded in Munich by Wassily
Kandinsky and Franz Marc, who were moving toward an aesthetic of non-objectivity.
The Blaue Reiter Almanac was published in 1912, devoted to modern art, music and
theater. Divergences among the artists and the ways in which their work broke with, or
negated, accepted European art traditions were among the reasons that the Expressionists
never cohered as a movement with a future direction, although important journals acted
as catalysts for a sense of commonality, for instance Herwarth Waldens Der Sturm (the
storm). His Berlin Galerie Der Sturm was credited with bringing the European avant-
These second generation works were not the models for Expressionist cinema, at
least not directly. Following the war, pre-war Expressionist art had become collectible.
Fritz Langs Dr. Mabuse, the Gambler (1921/22) shows a party in the home of a wealthy
art collector filled with paintings and art objects that are Expressionist or the kind of art
that inspired the pre-war movement. Mabuse, posing as a psychoanalyst, is asked what
he thinks of Expressionism. He replies that it is a game, like everything else. Indeed,
Expressionism had become a parlor game.
Expressionism entered German cinema after the war with The Cabinet of Dr.
Caligari, the most famous, uncontested example of Expressionist cinema. It remained the
standard-bearer for a new type of film, even if the prototype did not generate many others
that, strictly speaking, would count as Expressionist. Caligari came to stand for a
radical break with the previous generation of German (and other) filmmaking. Its antirealistic, claustrophobic sets and its harsh, high-contrast darkness coupled with feverish
anxiety entered the vocabulary of filmmakers and film viewers. Any image from
Caligari evokes its provocative difference from the status quo. Who can forget Conrad
Veidt as Cesare, the most eye-catching somnambulist in film history, like a ballet dancer
as he steps along a zigzagging ridge of artificial rooftops holding a womans limp body?
Even when Kitty is told hes dead, she doesnt stop: Come back, Jim, tell them.
Come back, save me... Jim... Kitty is innocent. I swear, Kitty is innocent. Kitty is
innocent, I swear, Kitty is innocent, Kitty is innocent.
Not every noir dramatic close-out takes place in the midst of expressionistic
shadows (not necessarily the last scene, which may be an epilogue). Both Raw Deal and
The Big Combo use white mist instead of darkness for the same purpose, literalizing the
metaphor of being unable to see any future. The ending of Gun Crazy (Joseph H. Lewis,
1950) takes place in the hills of the countryside near Barts home town, where the loverson-the-run wake up inside a white blanket of morning fog, unable to see anything but
strange shapes of tree branches, almost as inorganic-looking as the trees in Caligari. This
femme fatale, Annie Laurie Starr (Peggy Cummins) really is in love with Bart (John
Dall), but she is still addicted to guns and will kill those who threaten her. The final shots
isolate her, showing her growing panic as the voices of Barts two best friends from
childhood call out that they are surrounded, to drop their guns: Ill kill you, Ill kill
you, she screams. Looking tortured, Bart shoots her to stop her from killing them. It
Steve, all those things that happened to us, everything that went before, well forget it,
youll see, Ill make you forget it.
...itll be just you and me, you and me, the way it should have been from the start.
He explains the plan again as if he is the one in charge. She is saying what he wants to
hear. He wants to forget about things that we will see in a series of painful flashbacks,
showing Anna repeatedly deceiving him with Slim Dundee (Dan Duryea at his most
understatedly powerful and menacing). After one sudden absence, she returns as Slims
wife, yet as if she can still be Steves girl. In this film, as in The Killers, the double-cross
cuts the heart out of the male protagonist, leaving him with nothing. We see it in his
eyes.
Paranoia and fear are not the same thing. They are both operative when Steve is
confined to his hospital bed after the robbery that has gone bad in a scene where white
clouds of tear-gas make it impossible to see. Steves beloved older partner, Pop, dies in
the holdup; ironically, Steve is hailed as a hero who saved part of the money and was
badly hurt. His fractured arm hangs in the air, positioned by counterweights. Steve
worries about a lone man sitting in the hallway. He keeps looking at him, reflected in a
mirror in his room (a favorite Weimar device to show the double), but the nurse tells him
he is there for his wife. Accepting this, Steve asks the man if he would stay in his room
NOTES
Translations are my own unless otherwise indicated.
Paul Schrader, Notes on Film Noir, Film Comment (spring 1972), p. 10. (A phrase
from this statement was omitted in the reprint in Alain Silver and James Ursini, eds. Film
Noir Reader [New York: Limelight Editions, 1996], p. 55.) James Naremore calls
Schrader the figure who most shaped American ideas about noir through this essay that
became the best-known statement on the topic in the English language. More than
Night (Berkeley: University of California Press, 1998) p. 33.
3
Robert G. Porfirio, No Way Out: Existential Motifs in the Film Noir, Film Noir
Reader, p. 77.
4
Thomas Elsaesser, in A German Ancestry to Film Noir? Film History and its
Imaginary, Iris 21 (Spring 1996) and Marc Vernet, in Film Noir on the Edge of
Doom, in Joan Copjec, ed., Shades of Noir (London: Verso, 1993), adopt such
perspectives.
5
Dudley Andrews Mists of Regret: Culture and Sensibility in Classic French Film
(Princeton: Princeton University Press, 1995) is the most extended study of poetic
realism to date.
6
Alastair Phillips, City of Darkness, City of Light: migr Filmmakers in Paris, 19291939 (Amsterdam: Amsterdam University Press, 2004) begins later, but makes an
excellent starting point for a study that would begin earlier and that would not be
confined to migrs but that would focus on the history of international exchange.
7 John Willett, Expressionism (New York: McGraw-Hill, 1970), p. 6.
8
11
Ibid. p. 68.
12
Ibid. p. 88.
Ibid. p. 16.
14
Ibid. p. 117.
15
Ibid. p. 117.
16
17
. Karl Freund Interview (in English), (June 1, 1964). [Ralph] Freud Collection,
Interviews, UCLA Special Collections, Collection 542, Boxes 1 and 2.
18 Werner Sudendorf, Expressionism and Film: The Testament of Dr. Caligari, in
Shulamith Behr, David Fanning, Douglas Jarman, eds. Expressionism Reassessed
(Manchester: Manchester University Press, 1993), p. 95. More context is provided in
Mike Budd, ed., The Cabinet of Dr. Caligari: Texts, Contexts, Histories (New
Brunswick: Rutgers University Press, 1990); see particularly Kristin Thompson, Dr.
Caligari at the Folies-Bergre, or, The Successes of an Early Avant-Garde Film. The
most comprehensive current study is Olaf Brills Der Caligari-Komplex (Munich:
Belleville, 2012).
19
Jrgen Kasten, Der expressionistische Film (Mnster: MAkS, 1990); Rudolf Kurtz
Expressionismus und Film (Berlin: Verlag der Lichtbildbhne, 1926; rpt. Zurich: Verlag
Hans Rohr 1965).
20
Barry Salt, From Caligari to Who?, Sight and Sound, 48.2 (Spring 1972). He omits
Haus zum Mond, which was probably not available to him.
21
Lotte H. Eisner, The Haunted Screen: Expressionism in the German Cinema and the
Influence of Max Reinhardt, trans. from the French, with new material, by Roger Greaves
(London: Thames & Hudson, 1969; paperback Berkeley: University of California Press,
1973).
22
Lotte H. Eisner, Linfluence de lart expressionniste sur les dcors des films
allemands des annes vingt, Paris-Berlin, rapports et contrastes france-allemagne
1900-1933 (Paris: Centre Georges Pompidou), p. 270.
23
The excitement of discovering new noir titles -- a sequence or two may be enough -draws viewers to films called noir by Turner Classic Movies and creates a market for
more and more DVDs and special boxed sets. In April 2013 the Film Noir Foundation
and the American Cinematheque co-presented the 15th annual festival of film noir (23
titles) at the Egyptian Theater in Hollywood, programmed by Eddie Muller, Alan K.
Rode and Gwen Deglise.
The first French version was an abridged edition titled LEcran Dmoniaque: Influence
de Max Reinhardt et de lexpressionnisme (Paris: Editions Andr Bonne, 1952), followed
by an expanded French version (dition dfinitive) as LEcran Dmoniaque (Paris:
Terrain Vague, 1965), without the subtitle. The 1969 English translation, again updated,
placed the most emphasis on Expressionism: The Haunted Screen: Expressionism in the
German Cinema and the Influence of Max Reinhardt, while the German translation, again
revised and expanded, returned to Die dmonische Leinwand [the haunted screen]
(Frankfurt: Kommunales Kino, 1975).
25
Many colored examples are included in Lauren J. Miller, Weimar Rococo: The Cinema
Posters of Josef Fenneker as a Reflection of 1920s Berlin Society (MA thesis in the
History of the Decorative Arts and Design, Cooper-Hewitt, National Design Museum,
Smithsonian Institution; and Parsons The New School for Design, 2011).
26
Eisner, Linfluence de lart expressionniste sur les dcors des films allemands des
annes vingt, p. 270. Despite the fineness of her distinctions, Eisner asked Henri
Langlois numerous times to hold an exhibition devoted entirely to Expressionism and
film, as described in Laurent Mannoni, Lotte H. Eisner, historienne des dmons
allemands, in Marianne de Fleury and Laurent Mannoni, eds., Le Cinma
expressionniste allemand, splendeurs dune collection (Paris: Editions de La MartinireLa Cinmathque franaise, 2006), p. 67. In 2006 her many years spent securing works
for the Cinmathque Franaise resulted in the exhibition Le Cinma expressionniste
allemand, splendeurs dune collection.
27
Edward Dimendberg, Down these Seen Streets A Man Must Go: Siegfried Kracauer,
Hollywoods Terror Films, and the Spatiality of Film Noir, New German Critique 89
(2003), p. 123.
32
Dimendberg, Down these Seen Streets, p. 134; Edward Dimendberg, Film Noir and
the Spaces of Modernity (Cambridge, MA: Harvard University Press, 2004).
33
Dimendberg discusses the significance of Weegees book The Naked City (New York:
Essential Books, 1945) in Film Noir and the Spaces of Modernity, p. 48 and after.
34
Schrader, Notes on Film Noir, Film Noir Reader, p. 56; Film Comment, p. 10.
35
Janey Place and Lowell Petersons essay Some Visual Motifs of Film Noir remains a
classic, well-illustrated point of reference, in Film Noir Reader, pp. 65-75. Todd
McCarthys Visions of Light: The Art of Cinematography has a useful section on film
noir (Image Entertainment and Twentieth-Century Fox DVD, 1992; 2000).
37
I am pairing film titles with directors, mainly, as short-hand; in fact, our knowledge of
the production genesis and circumstances of most of these films is inadequate and many
things will forever remain unknown.