164-402: Bad Day at Black Rock is a 1955 American film noir neo-Western film directed by John Sturges with screenplay by Millard Kaufman . It stars Spencer Tracy and Robert Ryan with support from Anne Francis , Dean Jagger , Walter Brennan , John Ericson , Ernest Borgnine and Lee Marvin . The film is a crime drama set in 1945 that contains elements of the revisionist Western genre. In
328-473: A "pathway" in his screenwriters taxonomy; explaining that a pathway has two parts: 1) the way the audience connects with the protagonist and 2) the trajectory the audience expects the story to follow. Other critics treat film noir as a "mood," a "series", or simply a chosen set of films they regard as belonging to the noir "canon." There is no consensus on the matter. The aesthetics of film noir were influenced by German Expressionism , an artistic movement of
492-584: A B-movie soul. Perhaps no director better displayed that spirit than the German-born Robert Siodmak , who had already made a score of films before his 1940 arrival in Hollywood. Working mostly on A features, he made eight films now regarded as classic-era noir (a figure matched only by Lang and Mann). In addition to The Killers , Burt Lancaster 's debut and a Hellinger/Universal co-production, Siodmak's other important contributions to
656-405: A Dark Shadow (1955), directed by Lewis Gilbert . Terence Fisher directed several low-budget thrillers in a noir mode for Hammer Film Productions , including The Last Page (a.k.a. Man Bait ; 1952), Stolen Face (1952), and Murder by Proxy (a.k.a. Blackout ; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film of
820-534: A Golden Globe. Bad Day at Black Rock originated as a short story by Howard Breslin with full-color illustrations by Robert Fawcett . Titled "Bad Time at Honda", it was published by The American Magazine in January 1947. It was adapted into a script by Don McGuire and pitched to Metro-Goldwyn-Mayer production head Dore Schary , who was known for championing films that addressed social problems. Schary had previously produced Go for Broke! (1951), based on
984-679: A Lonely Place (1950) was Nicholas Ray 's breakthrough; his other noirs include his debut, They Live by Night (1948) and On Dangerous Ground (1952), noted for their unusually sympathetic treatment of characters alienated from the social mainstream. Orson Welles had notorious problems with financing but his three film noirs were well-budgeted: The Lady from Shanghai (1947) received top-level, "prestige" backing, while The Stranger (1946), his most conventional film, and Touch of Evil (1958), an unmistakably personal work, were funded at levels lower but still commensurate with headlining releases. Like The Stranger , Fritz Lang's The Woman in
1148-889: A bottle and fills it with gasoline from the Jeep. When Smith climbs down for a better shot, Macreedy throws the Molotov cocktail , setting Smith on fire. Macreedy drives back to town with Smith and Liz's body. The state police are called, and several arrests are made. As Macreedy is leaving, Velie requests Komoko's medal to help Black Rock heal. Macreedy gives it to him before boarding the train. The small cast includes three past and two future Academy Award winners; one past Academy Award nominee; and one future Golden Globe winner. Brennan (1936, 1938, 1940), Jagger (1950) and Tracy (1938, 1939) had all won Academy Awards. Ryan (1948) had been nominated for one. In subsequent years, Borgnine (1956) and Marvin (1965) both won Academy Awards; and Francis (1965) won
1312-432: A chase film as might have been imagined by Jean-Pierre Melville in an especially abstract mood. Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director Sam Peckinpah 's The Getaway (1972), adapting a novel by pulp master Jim Thompson , as well as for two tough private eye films: an original screenplay for Hickey & Boggs (1972) and an adaptation of
1476-502: A crime drama with revisionist Western overtones, the film is one of the first to recognize discrimination against Japanese Americans in World War II. No Japanese American characters are portrayed, although Komoko and his son, both dead, are central to the plot. In her 1991 documentary film History and Memory: For Akiko and Takashige , Rea Tajiri uses footage from Bad Day at Black Rock to illustrate prevailing attitudes toward
1640-501: A film noir, it has largely disappeared from considerations of the field. Director Jules Dassin of The Naked City (1948) pointed to the neorealists as inspiring his use of location photography with non-professional extras. This semidocumentary approach characterized a substantial number of noirs in the late 1940s and early 1950s. Along with neorealism, the style had an American precedent cited by Dassin, in director Henry Hathaway 's The House on 92nd Street (1945), which demonstrated
1804-399: A genre as determined by "conventions of narrative structure, characterization, theme, and visual design." Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in abundance." Hirsch notes that there are unifying features of tone, visual style and narrative sufficient to classify noir as a distinct genre. Others argue that film noir is not
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#17327874760821968-480: A genre. It is often associated with an urban setting, but many classic noirs take place in small towns, suburbia, rural areas, or on the open road; setting is not a determinant, as with the Western . Similarly, while the private eye and the femme fatale are stock character types conventionally identified with noir, the majority of films in the genre feature neither. Nor does film noir rely on anything as evident as
2132-466: A greater debt to French poetic realism than to the expressionistic American mode of noir. Examples of British noir (sometimes described as "Brit noir") from the classic period include Brighton Rock (1947), directed by John Boulting ; They Made Me a Fugitive (1947), directed by Alberto Cavalcanti ; The Small Back Room (1948), directed by Michael Powell and Emeric Pressburger ; The October Man (1950), directed by Roy Ward Baker ; and Cast
2296-564: A hard surface, the glass would shatter and the contents would instantly ignite, liberating choking fumes of phosphorus pentoxide and sulfur dioxide as well as producing a great deal of heat. Strict instructions were issued to store the grenades safely, preferably underwater and certainly never in a house. Mainly issued to the Home Guard as an anti-tank weapon, it was produced in vast numbers; by August 1941 well over 6,000,000 had been manufactured. There were many who were sceptical about
2460-600: A humid, erotically charged Florida setting. Its success confirmed the commercial viability of neo-noir at a time when the major Hollywood studios were becoming increasingly risk averse. The mainstreaming of neo-noir is evident in such films as Black Widow (1987), Shattered (1991), and Final Analysis (1992). Few neo-noirs have made more money or more wittily updated the tradition of the noir double entendre than Basic Instinct (1992), directed by Paul Verhoeven and written by Joe Eszterhas . The film also demonstrates how neo-noir's polychrome palette can reproduce many of
2624-455: A length of cinema film (then composed of highly flammable nitrocellulose ) as a source of ignition. On 29 July 1940, manufacturers Albright & Wilson of Oldbury demonstrated to the RAF how their white phosphorus could be used to ignite incendiary bombs. The demonstration involved throwing glass bottles containing a mixture of petrol and phosphorus at pieces of wood and into a hut. On breaking,
2788-477: A light [i.e., a source of ignition]. Put a corner of the material down in front of you, turn the bottle over so that petrol soaks out round the mouth of the bottle and drips on to this corner of the material. Turn the bottle right way up again, hold it in your right hand, most of the blanket bunched beneath the bottle, with your left hand take the blanket near the corner that is wetted with petrol. Wait for your tank. When near enough, your pal [or comrade-in-arms] lights
2952-410: A monstrous scale. The work of other directors in this tier of the industry, such as Felix E. Feist ( The Devil Thumbs a Ride [1947], Tomorrow Is Another Day [1951]), has become obscure. Edgar G. Ulmer spent most of his Hollywood career working at B studios and once in a while on projects that achieved intermediate status; for the most part, on unmistakable Bs. In 1945, while at PRC, he directed
3116-565: A murder that occurred four years earlier. When Bad Day at Black Rock was released, the reviews were almost universally positive, with, for example, John O'Hara in Collier's hailing it as "one of the finest motion pictures ever made". Many reviewers noted the film's Western-like elements, comparing it favorably with High Noon , and cinematographer William C. Mellor was widely praised for his use of widescreen . Film critic Bosley Crowther of The New York Times wrote, "Slowly, through
3280-578: A noir cult classic, Detour . Ulmer's other noirs include Strange Illusion (1945), also for PRC; Ruthless (1948), for Eagle-Lion, which had acquired PRC the previous year and Murder Is My Beat (1955), for Allied Artists. A number of low- and modestly-budgeted noirs were made by independent, often actor-owned, companies contracting with larger studios for distribution. Serving as producer, writer, director and top-billed performer, Hugo Haas made films like Pickup (1951), The Other Woman (1954) and Jacques Tourneur, The Fearmakers (1958) . It
3444-532: A noir mode than Preminger; his other noirs include Fallen Angel (1945), Whirlpool (1949), Where the Sidewalk Ends (1950) (all for Fox) and Angel Face (1952). A half-decade after Double Indemnity and The Lost Weekend , Billy Wilder made Sunset Boulevard (1950) and Ace in the Hole (1951), noirs that were not so much crime dramas as satires on Hollywood and the news media respectively. In
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#17327874760823608-617: A novel by Ross Macdonald , the leading literary descendant of Hammett and Chandler, for The Drowning Pool (1975). Some of the strongest 1970s noirs, in fact, were unwinking remakes of the classics, "neo" mostly by default: the heartbreaking Thieves Like Us (1974), directed by Altman from the same source as Ray's They Live by Night , and Farewell, My Lovely (1975), the Chandler tale made classically as Murder, My Sweet , remade here with Robert Mitchum in his last notable noir role. Detective series, prevalent on American television during
3772-525: A process of guarded discourse, which director John Sturges has built up by patient, methodical pacing, an eerie light begins to glimmer." At the end of 1955, The New York Times included the film in its best ten of the year. Despite a storyline that she called "crudely melodramatic", Pauline Kael of The New Yorker heaped praise on the film for its direction and cinematography, calling it "a very superior example of motion picture craftsmanship". Variety magazine's reviewer wrote, "Considerable excitement
3936-500: A range of plots; common archetypical protagonists include a private investigator ( The Big Sleep ), a plainclothes police officer ( The Big Heat ), an aging boxer ( The Set-Up ), a hapless grifter ( Night and the City ), a law-abiding citizen lured into a life of crime ( Gun Crazy ), a femme fatale ( Gilda ) or simply a victim of circumstance ( D.O.A. ). Although film noir was originally associated with American productions,
4100-505: A result, the Finns sarcastically dubbed the Soviet incendiary cluster bombs " Molotov bread baskets " ( Finnish : Molotovin leipäkori ) in reference to Molotov's propaganda broadcasts. When the hand-held bottle firebomb was developed to attack and destroy Soviet tanks, the Finns called it the "Molotov cocktail", as "a drink to go with his food parcels". Despite the now infamous name,
4264-531: A screenplay by Graham Greene . Set in Vienna immediately after World War II, it also stars two American actors, Joseph Cotten and Orson Welles , who had appeared together in Citizen Kane . Elsewhere, Italian director Luchino Visconti adapted Cain's The Postman Always Rings Twice as Ossessione (1943), regarded both as one of the great noirs and a seminal film in the development of neorealism. (This
4428-399: A specialist in what James Naremore called "hypnotic moments of light-in-darkness". He Walked by Night (1948), shot by Alton though credited solely to Alfred Werker, directed in large part by Mann, demonstrates their technical mastery and exemplifies the late 1940s trend of " police procedural " crime dramas. It was released, like other Mann-Alton noirs, by the small Eagle-Lion company; it
4592-550: A step up the ladder, known as "intermediates" by the industry, might be treated as A or B pictures depending on the circumstances. Monogram created Allied Artists in the late 1940s to focus on this sort of production. Robert Wise ( Born to Kill [1947], The Set-Up [1949]) and Anthony Mann ( T-Men [1947] and Raw Deal [1948]) each made a series of impressive intermediates, many of them noirs, before graduating to steady work on big-budget productions. Mann did some of his most celebrated work with cinematographer John Alton ,
4756-531: A stout iron bar in the tracks can immobilise the vehicle, leaving it at the mercy of further petrol bombs – which will suffocate the engine and possibly the crew – or an explosive charge or anti-tank mine. By August 1940, the War Office produced training instructions for the creation and use of Molotov cocktails. The instructions suggested scoring the bottles vertically with a diamond to ensure breakage and providing fuel-soaked rag, windproof matches or
4920-533: A trend, let alone a new genre, for many decades. Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood's profound postwar affection for morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic villains and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneurosis, unsublimated sex and murder most foul. Donald Marshman, Life (August 25, 1947) Most film noirs of
5084-402: A tube of nitric acid and a lump of metallic sodium to ignite a mixture of petrol and diesel fuel. The Polish Home Army developed a version which ignited on impact without the need of a wick. Ignition was caused by a reaction between concentrated sulfuric acid mixed with the fuel and a mixture of potassium chlorate and sugar which was crystallized from solution onto a rag attached to
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5248-507: A veteran of the International Brigades , later publicised his recommended method of using them: We made use of "petrol bombs" roughly as follows: take a 2lb glass jam jar. Fill with petrol. Take a heavy curtain, half a blanket, or some other heavy material. Wrap this over the mouth of the jar, tie it round the neck with string, leave the ends of the material hanging free. When you want to use it have somebody standing by with
5412-587: A vibrant film noir period from roughly 1946 to 1952, which was around the same time film noir was blossoming in the United States. During the classic period, there were many films produced in Europe, particularly in France, that share elements of style, theme, and sensibility with American films noir and may themselves be included in the genre's canon. In certain cases, the interrelationship with Hollywood noir
5576-554: A wholly American film style." However, although the term "film noir" was originally coined to describe Hollywood movies, it was an international phenomenon. Even before the beginning of the generally accepted classic period, there were films made far from Hollywood that can be seen in retrospect as films noir, for example, the French productions Pépé le Moko (1937), directed by Julien Duvivier , and Le Jour se lève (1939), directed by Marcel Carné . In addition, Mexico experienced
5740-489: Is Kiss Me Deadly (1955); based on a novel by Mickey Spillane , the best-selling of all the hardboiled authors, here the protagonist is a private eye, Mike Hammer . As described by Paul Schrader , " Robert Aldrich 's teasing direction carries noir to its sleaziest and most perversely erotic. Hammer overturns the underworld in search of the 'great whatsit' [which] turns out to be—joke of jokes—an exploding atomic bomb." Orson Welles's baroquely styled Touch of Evil (1958)
5904-580: Is The Invisible Man (1933), directed by Englishman James Whale and photographed by American Arthur Edeson . Edeson later photographed The Maltese Falcon (1941), widely regarded as the first major film noir of the classic era. Josef von Sternberg was directing in Hollywood during the same period. Films of his such as Shanghai Express (1932) and The Devil Is a Woman (1935), with their hothouse eroticism and baroque visual style anticipated central elements of classic noir. The commercial and critical success of Sternberg's silent Underworld (1927)
6068-535: Is "arbitrary". Expressionism-orientated filmmakers had free stylistic rein in Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund —and The Black Cat (1934), directed by Austrian émigré Edgar G. Ulmer . The Universal horror film that comes closest to noir, in story and sensibility,
6232-413: Is a hand-thrown incendiary weapon consisting of a frangible container filled with flammable substances and equipped with a fuse (typically a glass bottle filled with flammable liquids sealed with a cloth wick ). In use, the fuse attached to the container is lit and the weapon is thrown, shattering on impact. This ignites the flammable substances contained in the bottle and spreads flames as
6396-525: Is a cinematic term used primarily to describe stylized Hollywood crime dramas , particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir . Film noir of this era is associated with a low-key , black-and-white visual style that has roots in German expressionist cinematography . Many of the prototypical stories and attitudes expressed in classic noir derive from
6560-548: Is a glass bottle containing a flammable substance such as petrol (gasoline), alcohol or a napalm -like mixture and a source of ignition, such as a burning cloth wick , held in place by the bottle's stopper. The wick is usually soaked in alcohol or kerosene rather than petrol. For winter warfare , a method of ignition has been to attach storm matches to the side of the bottle, as these are less likely to be put out by wind. Some examples are fitted with ballast for improved throwing accuracy (such as filling 1 ⁄ 3 of
6724-461: Is among the first crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, in which the protagonist is a criminal (as are his most successful pursuers). Directors such as Lang, Jacques Tourneur , Robert Siodmak and Michael Curtiz brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition ( mise-en-scène ) with them to Hollywood, where they made some of
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6888-452: Is frequently cited as the last noir of the classic period. Some scholars believe film noir never really ended, but continued to transform even as the characteristic noir visual style began to seem dated and changing production conditions led Hollywood in different directions—in this view, post-1950s films in the noir tradition are seen as part of a continuity with classic noir. A majority of critics, however, regard comparable films made outside
7052-512: Is mirrored in the Warner Bros. drama I Am a Fugitive from a Chain Gang (1932), a forerunner of noir. Among films not considered noir, perhaps none had a greater effect on the development of the genre than Citizen Kane (1941), directed by Orson Welles . Its visual intricacy and complex, voiceover narrative structure are echoed in dozens of classic films noir. Italian neorealism of
7216-636: Is obvious: American-born director Jules Dassin moved to France in the early 1950s as a result of the Hollywood blacklist , and made one of the most famous French film noirs, Rififi (1955). Other well-known French films often classified as noir include Quai des Orfèvres (1947) and Les Diaboliques (1955), both directed by Henri-Georges Clouzot . Casque d'Or (1952), Touchez pas au grisbi (1954), and Le Trou (1960) directed by Jacques Becker ; and Ascenseur pour l'échafaud (1958), directed by Louis Malle . French director Jean-Pierre Melville
7380-552: Is set in 1930s Los Angeles, an accustomed noir locale nudged back some few years in a way that makes the pivotal loss of innocence in the story even crueler. Where Polanski and Towne raised noir to a black apogee by turning rearward, director Martin Scorsese and screenwriter Paul Schrader brought the noir attitude crashing into the present day with Taxi Driver (1976), a crackling, bloody-minded gloss on bicentennial America. In 1978, Walter Hill wrote and directed The Driver ,
7544-453: Is the pursuer rather than the pursued. A woman invariably joins him at a critical juncture, when he is most vulnerable. [Her] eventual betrayal of him (or herself) is as ambiguous as her feelings about him. Nicholas Christopher , Somewhere in the Night (1997) While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Foster Hirsch defines
7708-418: Is very limited; a turret-mounted machine gun has a very slow traverse and cannot hope to fend off attackers coming from all directions. Once sufficiently close, it is possible to hide where the tank's gunner cannot see: "The most dangerous distance away from a tank is 200 yards; the safest distance is six inches." Petrol bombs will soon produce a pall of blinding smoke, and a well-placed explosive package or even
7872-408: Is very much interested in preserving his own life. He wants to bring about justice, but he will escape without providing it if he must. Duty to a cause is the guiding principle for a samurai...Death is not relevant; it is, in fact, ennobling if it comes in the service of one’s lord. The Western hero has a great sense of self; the samurai has a great sense of subordination of self. Although essentially
8036-441: Is whipped up in this suspense drama, and fans who go for tight action will find it entirely satisfactory. Besides telling a yarn of tense suspense, the picture is concerned with a social message on civic complacency." On the review aggregator website Rotten Tomatoes , 97% of 33 critics' reviews are positive, with an average rating of 8.2/10. Film noir Film noir ( / n w ɑːr / ; French: [film nwaʁ] )
8200-536: Is widely recognized for his tragic, minimalist films noir— Bob le flambeur (1955), from the classic period, was followed by Le Doulos (1962), Le deuxième souffle 1966), Le Samouraï (1967), and Le Cercle rouge (1970). In the 1960s, Greek films noir " The Secret of the Red Mantle " and " The Fear " allowed audience for an anti-ableist reading which challenged stereotypes of disability. . Scholar Andrew Spicer argues that British film noir evidences
8364-539: The Nouvelle vague' s deeper waters), and Alan J. Pakula (1971's Klute ) directed films that knowingly related themselves to the original films noir, inviting audiences in on the game. A manifest affiliation with noir traditions—which, by its nature, allows different sorts of commentary on them to be inferred—can also provide the basis for explicit critiques of those traditions. In 1973, director Robert Altman flipped off noir piety with The Long Goodbye . Based on
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#17327874760828528-613: The 1992 Los Angeles riots . Molotov cocktails were used by protesters and civilian militia in Ukraine during Euromaidan and the Revolution of Dignity . Protesters during the Ferguson riots also used Molotov cocktails. In Bangladesh , during anti-government protests in 2013 and 2014, many buses and cars were targeted with petrol bombs. A number of people burned to death and many more were injured due to these attacks. During
8692-614: The 2014–17 Venezuelan protests , protesters used Molotov cocktails similar to those used by demonstrators in other countries. As the 2017 Venezuelan protests intensified, demonstrators began using "Puputovs" (a portmanteau of the words "poo-poo" and "Molotov"), with glass containers filled with excrement being thrown at authorities after the PSUV ruling-party official, Jacqueline Faría , mocked protesters who had to crawl through sewage in Caracas ' Guaire River to avoid tear gas. On 8 May,
8856-402: The 2019–20 Hong Kong protests , riots broke out and Molotov cocktails were used to attack the police and create roadblocks. They were also used to attack an MTR station, causing severe damage. A journalist was also struck by a Molotov cocktail during the protests. Molotov cocktails were used by some during the riots following the 2020 George Floyd protests in the United States. During
9020-498: The American Film Institute ranked it as the greatest American film of the 1980s and the fourth greatest of all time—it tells the story of a boxer's moral self-destruction that recalls in both theme and visual ambiance noir dramas such as Body and Soul (1947) and Champion (1949). From 1981, Body Heat , written and directed by Lawrence Kasdan , invokes a different set of classic noir elements, this time in
9184-603: The Soviet Union attacked Finland, starting what came to be known as the Winter War . The Finnish perfected the design and tactical use of the petrol bomb. The fuel for the Molotov cocktail was refined to a slightly sticky mixture of alcohol, kerosene , tar , and potassium chlorate . Further refinements included the attachment of wind-proof matches or a phial of chemicals that would ignite on breakage, thereby removing
9348-573: The Ukrainian Defense Ministry told civilians to make Molotov cocktails, locally called " Bandera smoothies", to fight Russian troops. The defense ministry distributed a recipe for producing Molotov cocktails to civilians through Ukrainian television, which included the use of styrofoam as a thickening agent to aid in helping the burning liquid stick to vehicles or other targets. The Pravda Brewery of Lviv , which converted from making beer to Molotov cocktails, said that its recipe
9512-656: The Ukrainian volunteer units during the 2022 Russian invasion of Ukraine . During World War II , Molotov cocktails were even factory produced in several countries, such as Finland , Nazi Germany , the Soviet Union , Sweden , and the United States ; some featuring specially designed frangible containers and fuses (such as the US Frangible Grenade M1 for example). The name "Molotov cocktail" ( Finnish : Molotovin cocktail )
9676-399: The gangster film to the police procedural to the gothic romance to the social problem picture —any example of which from the 1940s and 1950s, now seen as noir's classical era, was likely to be described as a melodrama at the time. It is night, always. The hero enters a labyrinth on a quest. He is alone and off balance. He may be desperate, in flight, or coldly calculating, imagining he
9840-493: The hardboiled school of crime fiction that emerged in the United States during the Great Depression , known as noir fiction . The term film noir , French for "black film" (literal) or "dark film" (closer meaning), was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era. Frank is believed to have been inspired by
10004-536: The major studios or by one of the smaller Poverty Row outfits, from the relatively well-off Monogram to shakier ventures such as Producers Releasing Corporation (PRC) . Jacques Tourneur had made over thirty Hollywood Bs (a few now highly regarded, most forgotten) before directing the A-level Out of the Past , described by scholar Robert Ottoson as "the ne plus ultra of forties film noir". Movies with budgets
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#173278747608210168-448: The tiny flag stop station . After Macreedy states that he is looking for a man named Komoko, several of the local men become hostile. Hastings, the telegraph agent, tells him that there are no taxis, the hotel desk clerk, Pete Wirth, claims that he has no vacant rooms, and Hector David threatens him. Later, Reno Smith informs Macreedy that Komoko, a Japanese-American, was interned during World War II . Macreedy visits Sheriff Tim Horn, but
10332-427: The "Molotov cocktail", a bottle filled with resin, petrol and tar which if thrown on top of a tank will ignite, and if you throw half a dozen or more on it you have them cooked. It is quite an effective thing. If you can use your ingenuity, I give you a picture of a [road] block with two houses close to the block, overlooking it. There are many villages like that. Out of the top windows is the place to drop these things on
10496-575: The 1910s and 1920s that involved theater, music, photography, painting, sculpture and architecture, as well as cinema. The opportunities offered by the booming Hollywood film industry and then the threat of Nazism led to the emigration of many film artists working in Germany who had been involved in the Expressionist movement or studied with its practitioners. M (1931), shot only a few years before director Fritz Lang 's departure from Germany,
10660-476: The 1940s, with its emphasis on quasi-documentary authenticity, was an acknowledged influence on trends that emerged in American noir. The Lost Weekend (1945), directed by Billy Wilder , another Vienna-born, Berlin-trained American auteur , tells the story of an alcoholic in a manner evocative of neorealism. It also exemplifies the problem of classification: one of the first American films to be described as
10824-560: The Cain approach has come to be identified with a subset of the hardboiled genre dubbed " noir fiction ". For much of the 1940s, one of the most prolific and successful authors of this often downbeat brand of suspense tale was Cornell Woolrich (sometimes under the pseudonym George Hopley or William Irish). No writer's published work provided the basis for more noir films of the classic period than Woolrich's: thirteen in all, including Black Angel (1946), Deadline at Dawn (1946), and Fear in
10988-466: The Cold War. This cinematological trend reflected much of the cynicism and the possibility of nuclear annihilation of the era. This new genre introduced innovations that were not available to earlier noir films. The violence was also more potent. While it is hard to draw a line between some of the noir films of the early 1960s such as Blast of Silence (1961) and Cape Fear (1962) and the noirs of
11152-449: The French literary publishing imprint Série noire , founded in 1945. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noir were referred to as " melodramas ". Whether film noir qualifies as a distinct genre or whether it should be considered a filmmaking style is a matter of ongoing and heavy debate among film scholars. Film noir encompasses
11316-458: The Japanese. Tajiri's family were among those interned after the attack on Pearl Harbor. John Streamas describes the film as an indictment of both racism and McCarthyism . He comments on the unusual means of denunciation that it employs, because with no Japanese-American characters in the story, there is no liberation of an oppressed victim. Instead, the plot delivers justice for the victim of
11480-526: The Jeep again. When Smith asks about his missing left arm, Macreedy says that he lost it fighting in Italy . Macreedy says that the wildflowers at the Komoko place make him suspect that a body is buried there. Smith reveals that he is virulently anti-Japanese; he tried to enlist the day after the attack on Pearl Harbor but failed the physical. Macreedy tries to telephone the state police, but Pete refuses to put
11644-450: The Lake (1947)—he was an important screenwriter in the genre as well, producing the scripts for Double Indemnity , The Blue Dahlia (1946), and Strangers on a Train (1951). Where Chandler, like Hammett, centered most of his novels and stories on the character of the private eye, Cain featured less heroic protagonists and focused more on psychological exposition than on crime solving;
11808-574: The NDRC showing the highest technological level. These incendiary devices employed the most technologically advanced fillers in the conflict. The M1 frangible grenade was the standard US device, but each division of the army could come up with its own. Two non-industrial models of these grenades were developed and manufactured in a certain quantity. In all, about five thousand were manufactured. The frangible grenades featured standardized chemical igniters, some were specific to each flammable filler. Most of
11972-403: The Night (1947). Another crucial literary source for film noir was W. R. Burnett , whose first novel to be published was Little Caesar , in 1929. It was turned into a hit for Warner Bros. in 1931; the following year, Burnett was hired to write dialogue for Scarface , while The Beast of the City (1932) was adapted from one of his stories. At least one important reference work identifies
12136-578: The PIRA tended to use them in attacks rather than in self-defence. Over time, as the PIRA became more co-ordinated, it shifted to using IEDs rather than petrol bombs. During the Second Battle of Fallujah in 2004, U.S. Marines employed Molotov cocktails made with "one part liquid laundry detergent, two parts gas [gasoline]" while clearing houses "when contact is made in a house and the enemy must be burned out". The tactic "was developed in response to
12300-470: The Third Floor still lost its studio, RKO , US$ 56,000 (equivalent to $ 1,217,900 in 2023), almost a third of its total cost. Variety magazine found Ingster's work: "...too studied and when original, lacks the flare [ sic ] to hold attention. It's a film too arty for average audiences, and too humdrum for others." Stranger on the Third Floor was not recognized as the beginning of
12464-479: The US and Canada, and $ 1,822,000 elsewhere, making the studio a profit of $ 947,000. The plot of the movie—a small western desert town hiding a guilty secret, or protecting a local person from outside law enforcement officers—was borrowed many times by US television crime shows. Detective and crime series as diverse as Cannon , Kojak , The A-Team and Remington Steele , among others, each had an episode similar to
12628-750: The United States, Molotov cocktails are considered " destructive devices " under the National Firearms Act and are regulated by the ATF . Wil Casey Floyd, from Elkhart Lake, Wisconsin , was arrested after throwing Molotov cocktails at Seattle police officers during a protest in May 2016; he pleaded guilty for using the incendiary devices in February 2018. In Simpson County, Kentucky , 20-year-old Trey Alexander Gwathney-Law attempted to burn Franklin-Simpson County Middle School with five Molotov cocktails; he
12792-535: The Window (1944) was a production of the independent International Pictures. Lang's follow-up, Scarlet Street (1945), was one of the few classic noirs to be officially censored: filled with erotic innuendo, it was temporarily banned in Milwaukee, Atlanta and New York State. Scarlet Street was a semi-independent, cosponsored by Universal and Lang's Diana Productions, of which the film's co-star, Joan Bennett ,
12956-495: The alcoholic lawman is of no help. The veterinarian and undertaker, Doc Velie, advises Macreedy to leave town immediately, but lets it slip that Komoko is dead. Pete's sister, Liz, rents a Jeep for Macreedy. He drives to nearby Adobe Flat, where he finds a homestead burned to the ground and wildflowers growing nearby. As Macreedy drives back, Coley Trimble tries to run him off the road. Macreedy tries to leave town, but Liz, having been previously confronted by Smith, refuses to rent him
13120-417: The basis for Double Indemnity (1944), Mildred Pierce (1945), The Postman Always Rings Twice (1946), and Slightly Scarlet (1956; adapted from Love's Lovely Counterfeit ). A decade before the classic era, a story by Hammett was the source for the gangster melodrama City Streets (1931), directed by Rouben Mamoulian and photographed by Lee Garmes , who worked regularly with Sternberg. Released
13284-834: The bottle with sand). In action, the wick/match is lit and the bottle hurled at a target such as a vehicle or fortification. When the bottle smashes on impact, the ensuing cloud of fuel droplets and vapour is ignited by the attached wick, causing an immediate fireball followed by spreading flames as the remainder of the fuel is consumed. Other flammable liquids, such as diesel fuel , methanol , turpentine , jet fuel , acetone , and isopropyl alcohol (rubbing alcohol), have been used in place of, or combined with, petrol. Thickening agents, such as solvents , extruded polystyrene (XPS) foam (known colloquially as styrofoam ), baking soda , petroleum jelly , tar , strips of tyre tubing , nitrocellulose , motor oil , rubber cement , detergent and dish soap , have been added to promote adhesion of
13448-669: The bottle. During the Norwegian campaign in 1940 the Norwegian Army lacking suitable anti-tank weaponry had to rely on petrol bombs and other improvised weapons to fight German armored vehicles. Instructions from Norwegian High Command sent to army units in April 1940 encouraged soldiers to start ad-hoc production of "Hitler cocktails" (a different take on the Finnish nickname for the weapon) to combat tanks and armored cars. During
13612-451: The burning liquid and to create clouds of thick, choking smoke. There also exist variations on the Molotov cocktail-concept where the bottle is filled with a smoke generating mixture such as sulfur trioxide dissolved in chlorosulfonic acid . These so-called "smoke bottles" do not need a source for ignition, as the mixture reacts with the air once the bottle is smashed. Improvised incendiary devices of this type were used in warfare for
13776-514: The call through. Doc Velie admits that something terrible happened four years ago, but Smith has everyone too terrified to speak up. Velie offers his hearse to Macreedy to leave town, but Hector disables it by yanking out the cables. Macreedy writes a telegram to the California police summoning help and gives it to Hastings. Macreedy goes to the diner, where Trimble provokes a fight, but Macreedy, despite having only one arm, easily throws him to
13940-655: The campaign there were instances of petrol bombs being relatively effective against the lighter tanks employed in Norway by Germany, such as the Panzer I and Panzer II . During the Troubles , both the Provisional Irish Republican Army (PIRA) and civilians used petrol bombs, although with different uses. Civilians tended to use petrol bombs and rocks against police officers in riots; however,
14104-626: The cast and crew relocated to the MGM studio lot in Culver City . André Previn was hired to write the score. Although the film is essentially a crime drama set in 1945, it is recognized as a neo-Western , with strong links to the revisionist Western genre. The premiere was at Loew's 72nd Street Theatre in New York City on December 8, 1954. The film was released nationally in January 1955. According to MGM records, it earned US$ 1,966,000 in
14268-408: The classic era to be something other than genuine film noir. They regard true film noir as belonging to a temporally and geographically limited cycle or period, treating subsequent films that evoke the classics as fundamentally different due to general shifts in filmmaking style and latter-day awareness of noir as a historical source for allusion . These later films are often called neo-noir . While
14432-489: The classic noir period in Great Britain: Night and the City (1950). Though it was conceived in the United States and was not only directed by an American but also stars two American actors— Richard Widmark and Gene Tierney —it is technically a UK production, financed by 20th Century-Fox 's British subsidiary. The most famous of classic British noirs is director Carol Reed 's The Third Man (1949), from
14596-473: The classic period were similarly low- and modestly-budgeted features without major stars— B movies either literally or in spirit. In this production context, writers, directors, cinematographers, and other craftsmen were relatively free from typical big-picture constraints. There was more visual experimentation than in Hollywood filmmaking as a whole: the Expressionism now closely associated with noir and
14760-434: The conventions of classic film noir as historical archetypes to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir. Though several late classic noirs, Kiss Me Deadly (1955) in particular, were deeply self-knowing and post-traditional in conception, none tipped its hand so evidently as to be remarked on by American critics at the time. The first major film to overtly work this angle
14924-558: The efficacy of Molotov cocktails and SIPs grenades against the more modern German tanks. Weapon designer Stuart Macrae witnessed a trial of the SIPs grenade at Farnborough : "There was some concern that, if the tank drivers could not pull up quickly enough and hop out, they were likely to be frizzled to death, but after looking at the bottles they said they would be happy to take a chance." The drivers were proved right, trials on modern British tanks confirmed that Molotov and SIP grenades caused
15088-399: The enemy's tactics" of guerrilla warfare and particularly martyrdom tactics which often resulted in U.S. Marine casualties. The cocktail was a less expedient alternative to white phosphorus mortar rounds or propane tanks detonated with C4 (nicknamed the "House Guest"), all of which proved effective at burning out engaged enemy combatants. During the 2022 Russian invasion of Ukraine ,
15252-406: The era; at least four qualify by consensus: Shadow of a Doubt (1943), Notorious (1946), Strangers on a Train (1951) and The Wrong Man (1956), Otto Preminger 's success with Laura (1944) made his name and helped demonstrate noir's adaptability to a high-gloss 20th Century-Fox presentation. Among Hollywood's most celebrated directors of the era, arguably none worked more often in
15416-479: The exploits of the segregated Japanese-American 442nd Regimental Combat Team . Breslin novelized the script, using the pseudonym Michael Niall. His book was published in 1954 by Fawcett Publications . Schary acquired the film rights for Metro-Goldwyn-Mayer, but he hired Millard Kaufman to rewrite McGuire's script. The producers were worried about the title because "Bad Time at Honda" was similar to Hondo , recently made with John Wayne . Kaufman suggested changing
15580-494: The expressionistic effects of classic black-and-white noir. Like Chinatown , its more complex predecessor, Curtis Hanson 's Oscar-winning L.A. Confidential (1997), based on the James Ellroy novel, demonstrates the opposite tendency—the deliberately retro film noir; its tale of corrupt cops and femmes fatale is seemingly lifted straight from a film of 1953, the year in which it is set. Director David Fincher followed
15744-458: The femme fatale, the private eye, came to the fore in films such as The Maltese Falcon (1941), with Humphrey Bogart as Sam Spade , and Murder, My Sweet (1944), with Dick Powell as Philip Marlowe . The prevalence of the private eye as a lead character declined in film noir of the 1950s, a period during which several critics describe the form as becoming more focused on extreme psychologies and more exaggerated in general. A prime example
15908-647: The film's commercial success and seven Oscar nominations made it probably the most influential of the early noirs. A slew of now-renowned noir "bad girls" followed, such as those played by Rita Hayworth in Gilda (1946), Lana Turner in The Postman Always Rings Twice (1946), Ava Gardner in The Killers (1946), and Jane Greer in Out of the Past (1947). The iconic noir counterpart to
16072-461: The first "true" film noir is Stranger on the Third Floor (1940), directed by Latvian-born, Soviet-trained Boris Ingster . Hungarian émigré Peter Lorre —who had starred in Lang's M —was top-billed, although he did not play the primary lead. (He later played secondary roles in several other formative American noirs.) Although modestly budgeted, at the high end of the B movie scale, Stranger on
16236-559: The first of many attempts to define film noir made by French critics Raymond Borde [ fr ] and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 ( A Panorama of American Film Noir ), the original and seminal extended treatment of the subject. They emphasize that not every noir film embodies all five attributes in equal measure—one might be more dreamlike; another, particularly brutal. The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship, but in
16400-738: The first time in the Spanish Civil War between July 1936 and April 1939, before they became known as "Molotov cocktails". In 1936, General Francisco Franco ordered Spanish Nationalist forces to use the weapon against Soviet T-26 tanks supporting the Spanish Republicans in a failed assault on the Nationalist stronghold of Seseña , near Toledo , 40 km (25 mi) south of Madrid . After that, both sides used simple petrol bombs set fire with toxic gas or petrol-soaked blankets with some success. Tom Wintringham ,
16564-402: The formal Finnish military term for the weapon type was, and continues to be, "burn-bottle" ( Finnish : polttopullo , Fenno-Swedish : brännflaska ). The weapon most often known as the Molotov cocktail goes under a great variety of other names around the globe. Some are more formal than others but the weapon is often given a descriptive name in the respective language. A Molotov cocktail
16728-401: The frangible devices were made in an improvised way, with no standardization regarding the bottle and filling. The frangible grenades were eventually declared obsolete, due to the very limited destructive effect. 1107 frangible, M1, NP type were supplied to the navy and its units for field use at Iwo Jima . The United States Marine Corps developed a version during World War II that used
16892-407: The fuel burns. Due to their relative ease of production, Molotov cocktails are typically improvised weapons . Their improvised usage spans criminals , gangsters , rioters , football hooligans , urban guerrillas , terrorists , irregular soldiers , freedom fighters , and even regular soldiers ; usage in the latter case is often due to a shortage of equivalent military-issued munitions. Despite
17056-490: The genre include 1944's Phantom Lady (a top-of-the-line B and Woolrich adaptation), the ironically titled Christmas Holiday (1944), and Cry of the City (1948). Criss Cross (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to
17220-588: The genre's films. Because of the diversity of noir (much greater than that of the screwball comedy), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style". Alain Silver , the most widely published American critic specializing in film noir studies, refers to film noir as a "cycle" and a "phenomenon", even as he argues that it has—like certain genres—a consistent set of visual and thematic codes. Screenwriter Eric R. Williams labels both film noir and screwball comedy
17384-464: The ground using martial arts. Macreedy confronts Smith and accuses him of killing Komoko with the help of others. Hastings arrives and tries to give Smith a piece of paper, but Macreedy snatches it. It is his unsent draft of a telegram. Macreedy and Velie tell Hastings that he has broken the law and demand that Horn take action. Horn stands up to arrest Hastings, but Smith pulls the sheriff's badge off Horn's shirt and pins it on Hector, who casually tears up
17548-582: The hashtag #puputov became the top trending hashtag on Twitter in Venezuela, as reports of authorities vomiting after being drenched in excrement began to circulate. A month later, on 4 June 2017, during protests against Donald Trump in Portland, Oregon , police claimed protesters began throwing balloons filled with "unknown, foul-smelling liquid" at officers. As incendiary devices, Molotov cocktails are illegal to manufacture or possess in many regions. In
17712-428: The hotel; Pete lures him into the office, where Doc Velie knocks him unconscious. Liz drives Macreedy out of town but stops at Adobe Flat. Macreedy realizes that he has been set up. When Smith starts shooting at him, Macreedy shelters behind the Jeep. Liz rushes to Smith despite Macreedy's warning. Smith tells her that she has to die with the rest of his accomplices, and shoots her in the back as she flees. Macreedy finds
17876-483: The immensely successful neo-noir Seven (1995) with a film that developed into a cult favorite after its original, disappointing release: Fight Club (1999), a sui generis mix of noir aesthetic, perverse comedy, speculative content, and satiric intent. Working generally with much smaller budgets, brothers Joel and Ethan Coen have created one of the most extensive oeuvres influenced by classic noir, with films such as Blood Simple (1984) and Fargo (1996),
18040-414: The inceptive noir, Stranger on the Third Floor , was a B picture directed by a virtual unknown, many of the films noir still remembered were A-list productions by well-known film makers. Debuting as a director with The Maltese Falcon (1941), John Huston followed with Key Largo (1948) and The Asphalt Jungle (1950). Opinion is divided on the noir status of several Alfred Hitchcock thrillers from
18204-409: The industry blacklist—as well as Henry Hathaway ( The Dark Corner (1946), Kiss of Death (1947)) and John Farrow ( The Big Clock (1948), Night Has a Thousand Eyes (1948)). Most of the Hollywood films considered to be classic noirs fall into the category of the B movie. Some were Bs in the most precise sense, produced to run on the bottom of double bills by a low-budget unit of one of
18368-578: The intention of using them against enemy tanks . The Finns had found that they were effective when used in the right way and in sufficient numbers. Although the experience of the Spanish Civil War received more publicity, the more sophisticated petroleum warfare tactics of the Finns were not lost on British commanders. In his 5 June address to LDV leaders, General Ironside said: I want to develop this thing they developed in Finland, called
18532-427: The late 1950s, new trends emerged in the post-classic era. The Manchurian Candidate (1962), directed by John Frankenheimer , Shock Corridor (1963), directed by Samuel Fuller , and Brainstorm (1965), directed by experienced noir character actor William Conrad , all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir. The Manchurian Candidate examined
18696-440: The latter as a film noir despite its early date. Burnett's characteristic narrative approach fell somewhere between that of the quintessential hardboiled writers and their noir fiction compatriots—his protagonists were often heroic in their own way, which happened to be that of the gangster. During the classic era, his work, either as author or screenwriter, was the basis for seven films now widely regarded as noir, including three of
18860-562: The latter considered by some a supreme work in the neo-noir mode. The Coens cross noir with other generic traditions in the gangster drama Miller's Crossing (1990)—loosely based on the Dashiell Hammett novels Red Harvest and The Glass Key —and the comedy The Big Lebowski (1998), a tribute to Chandler and an homage to Altman's version of The Long Goodbye . The characteristic work of David Lynch combines film noir tropes with scenarios driven by disturbed characters such as
19024-492: The major studios that have been chosen for the United States National Film Registry . Of the others, one was a small-studio release: Detour . Four were independent productions distributed by United Artists , the "studio without a studio": Gun Crazy ; Kiss Me Deadly ; D.O.A. (1950), directed by Rudolph Maté and Sweet Smell of Success (1957), directed by Alexander Mackendrick . One
19188-492: The matches with a small ampoule inside the bottle; it ignited when the bottle broke. By spring 1940 they had produced 542,104 bottles. Early in 1940, with the prospect of immediate invasion , the possibilities of the petrol bomb gripped the imagination of the British public. For laypersons, the petrol bomb had the benefit of using entirely familiar and available materials, and they were quickly improvised in large numbers, with
19352-455: The monstrous or supernatural elements of the horror film , the speculative leaps of the science fiction film , or the song-and-dance routines of the musical . An analogous case is that of the screwball comedy , widely accepted by film historians as constituting a "genre": screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some—but rarely and perhaps never all—of which are found in each of
19516-452: The month before Lang's M , City Streets has a claim to being the first major film noir; both its style and story had many noir characteristics. Raymond Chandler , who debuted as a novelist with The Big Sleep in 1939, soon became the most famous author of the hardboiled school. Not only were Chandler's novels turned into major noirs— Murder, My Sweet (1944; adapted from Farewell, My Lovely ), The Big Sleep (1946), and Lady in
19680-474: The most famous classic noirs. By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir—scholar Marc Vernet offers the latter as evidence that dating the initiation of film noir to 1940 or any other year
19844-612: The most famous: High Sierra (1941), This Gun for Hire (1942), and The Asphalt Jungle (1950). The 1940s and 1950s are generally regarded as the classic period of American film noir. While City Streets and other pre-WWII crime melodramas such as Fury (1936) and You Only Live Once (1937), both directed by Fritz Lang, are categorized as full-fledged noir in Alain Silver and Elizabeth Ward's film noir encyclopedia, other critics tend to describe them as "proto-noir" or in similar terms. The film now most commonly cited as
20008-481: The most understandable of femme fatales; Dan Duryea , in one of his many charismatic villain roles; and Lancaster as an ordinary laborer turned armed robber, doomed by a romantic obsession. Some critics regard classic film noir as a cycle exclusive to the United States; Alain Silver and Elizabeth Ward, for example, argue, "With the Western, film noir shares the distinction of being an indigenous American form ...
20172-596: The name of the town to Black Rock, after a real town in Arizona. Kaufman finished the script in fall 1953. Although Spencer Tracy was 54 and much older than the platoon leader in the original story, Schary wanted Tracy to play the lead role. John Sturges was hired as director in June 1954, and shooting began the following month near Lone Pine, California , where the small town set had been quickly constructed. Just before shooting began, an indecisive Tracy tried to back out of
20336-504: The need to pre-ignite the bottle, and leaving the bottle about one-third empty was found to make breaking more likely. A British War Office report dated June 1940 noted that: The Finns' policy was to allow the Russian tanks to penetrate their defences, even inducing them to do so by 'canalising' them through gaps and concentrating their small arms fire on the infantry following them. The tanks that penetrated were taken on by gun fire in
20500-501: The noir style for economic reasons: dim lighting saved on electricity and helped cloak cheap sets (mist and smoke also served the cause). Night shooting was often compelled by hurried production schedules. Plots with obscure motivations and intriguingly elliptical transitions were sometimes the consequence of hastily written scripts. There was not always enough time or money to shoot every scene. In Criss Cross , Siodmak achieved these effects, wrapping them around Yvonne De Carlo , who played
20664-416: The novel by Raymond Chandler, it features one of Bogart's most famous characters, but in iconoclastic fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary mores and morality. Where Altman's subversion of the film noir mythos was so irreverent as to outrage some contemporary critics, around the same time Woody Allen
20828-538: The occupants of the tanks "no inconvenience whatsoever." Wintringham, though enthusiastic about improvised weapons, cautioned against a reliance on petrol bombs and repeatedly emphasised the importance of using explosive charges. The US army designated Molotov cocktails as frangible grenades. They presented a notable amount of variations, from those that used thin fuel with varied ignition systems, to those that used obscurants and chemical weapons . Various frangible grenade designs were developed, with those investiged by
20992-589: The open and by small parties of men armed with explosive charges and petrol bombs in the forests and villages... The essence of the policy was the separation of the AFVs from the infantry, as once on their own the tank has many blind spots and once brought to a stop can be disposed of at leisure. Molotov cocktails were eventually mass-produced by the Alko corporation at its Rajamäki distillery , bundled with matches to light them. A 500 ml (0.53 US qt) bottle
21156-578: The parallel influence of the cinematic newsreel. The primary literary influence on film noir was the hardboiled school of American detective and crime fiction , led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest , was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines such as Black Mask . The classic film noirs The Maltese Falcon (1941) and The Glass Key (1942) were based on novels by Hammett; Cain's novels provided
21320-459: The period, updated the hardboiled tradition in different ways, but the show conjuring the most noir tone was a horror crossover touched with shaggy, Long Goodbye -style humor: Kolchak: The Night Stalker (1974–75), featuring a Chicago newspaper reporter investigating strange, usually supernatural occurrences. The turn of the decade brought Scorsese's black-and-white Raging Bull (1980, cowritten by Schrader). An acknowledged masterpiece—in 2007
21484-406: The petrol soaked corner of the blanket. Throw the bottle and blanket as soon as this corner is flaring. (You cannot throw it far.) See that it drops in front of the tank. The blanket should catch in the tracks or in a cog-wheel, or wind itself round an axle. The bottle will smash, but the petrol should soak the blanket well enough to make a really healthy fire which will burn the rubber wheels on which
21648-553: The phosphorus was exposed to the air and spontaneously ignited; the petrol also burned, resulting in a fierce fire. Because of safety concerns, the RAF was not interested in white phosphorus as a source of ignition, but the idea of a self-igniting petrol bomb took hold. Initially known as an A.W. bomb, it was officially named the No. 76 Grenade , but more commonly known as the SIP (Self-Igniting Phosphorus) grenade. The perfected list of ingredients
21812-543: The picture. Schary made clear that he was willing to sue the actor if he quit the film. Bad Day at Black Rock was Tracy's final film for MGM, with the exception of How the West Was Won (1963), for which he supplied the narration. Budget for the film was $ 1.3 million and it was shot in color using Cinemascope because Schary thought that widescreen would emphasize the menace of the isolated town. Temperatures on location were over 100 °F (38 °C). On August 9,
21976-479: The plot of Bad Day at Black Rock . In the case of Kojak and Remington Steele , the film is actually mentioned in the dialogue of the episodes. Film historian Stuart M. Kaminsky , in American Film Genres (1985), contrasts the ideology that guides Spencer Tracy's McCreedy, with the key motivating factor in samurai tradition: There is a crucial difference between Tracy and a samurai hero. Tracy
22140-506: The plot, a one-armed stranger (Tracy) comes to a small desert town and uncovers an evil secret that has corrupted the entire community. The film is based on a short story called "Bad Time at Honda" by Howard Breslin , published by The American Magazine in January 1947. Filming began in July 1954, and the movie went on national release in January 1955. It was a box-office success and was nominated for three Academy Awards in 1956. In 2018, it
22304-542: The post-classic area. Some of these are quintessentially self-aware neo-noirs—for example, Il Conformista (1969; Italy), Der Amerikanische Freund (1977; Germany), The Element of Crime (1984; Denmark), and El Aura (2005; Argentina). Others simply share narrative elements and a version of the hardboiled sensibility associated with classic noir, such as Castle of Sand (1974; Japan), Insomnia (1997; Norway), Croupier (1998; UK), and Blind Shaft (2003; China). The neo-noir film genre developed mid-way into
22468-566: The proto-noirs They Drive by Night (1940), Manpower (1941) and High Sierra (1941), now regarded as a seminal work in noir's development. Walsh had no great name during his half-century as a director but his noirs The Man I Love (1947), White Heat (1949) and The Enforcer (1951) had A-list stars and are seen as important examples of the cycle. Other directors associated with top-of-the-bill Hollywood films noir include Edward Dmytryk ( Murder, My Sweet (1944), Crossfire (1947))—the first important noir director to fall prey to
22632-559: The semi-documentary style that later emerged represent two very different tendencies. Narrative structures sometimes involved convoluted flashbacks uncommon in non-noir commercial productions. In terms of content, enforcement of the Production Code ensured that no film character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were very risqué for
22796-470: The situation of American prisoners of war (POWs) during the Korean War . Incidents that occurred during the war as well as those post-war functioned as an inspiration for a "Cold War Noir" subgenre. The television series The Fugitive (1963–67) brought classic noir themes and mood to the small screen for an extended run. In a different vein, films began to appear that self-consciously acknowledged
22960-736: The sociopathic criminal played by Dennis Hopper in Blue Velvet (1986) and the delusionary protagonist of Lost Highway (1997). The Twin Peaks cycle, both the TV series (1990–91) and a film, Fire Walk with Me (1992), puts a detective plot through a succession of bizarre spasms. David Cronenberg also mixes surrealism and noir in Naked Lunch (1991), inspired by William S. Burroughs ' novel . Molotov cocktail A Molotov cocktail (among several other names – see § Etymology )
23124-403: The tank as it passes the block. It may only stop it for two minutes there, but it will be quite effective. Wintringham advised that a tank that was isolated from supporting infantry was potentially vulnerable to men who had the required determination and cunning to get close. Rifles or even a shotgun would be sufficient to persuade the crew to close all the hatches, and then the view from the tank
23288-615: The tank track runs, set fire to the carburettor or frizzle the crew. Do not play with these things. They are highly dangerous. The Battle of Khalkhin Gol , a border conflict of 1939 ostensibly between Mongolia and Manchukuo , saw heavy fighting between Japanese and Soviet forces. Short of anti-tank equipment, Japanese infantry attacked Soviet tanks with gasoline-filled bottles. Japanese infantrymen claimed that several hundred Soviet tanks had been destroyed this way, though Soviet loss records do not support this assessment. On 30 November 1939,
23452-427: The telegram. After Smith and Hector leave, Macreedy reveals that the loss of his arm had left him wallowing in self-pity, but Trimble's attempt to kill him has reinvigorated him. Macreedy finally reveals that Komoko's son died in combat (with the 442nd Infantry Regiment ) while saving his life. Macreedy came to give the man's medal to Komoko. Macreedy learns that the elder Komoko had leased some farmland from Smith, who
23616-594: The term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with films noir of the classical period, and often treat its conventions self-referentially . Latter-day works are typically referred to as neo-noir . The clichés of film noir have inspired parody since the mid-1940s. The question of what defines film noir and what sort of category it is, provokes continuing debate. "We'd be oversimplifying things in calling film noir oneiric , strange, erotic, ambivalent, and cruel ..."—this set of attributes constitutes
23780-558: The time. Thematically, films noir were most exceptional for the relative frequency with which they centered on portrayals of women of questionable virtue—a focus that had become rare in Hollywood films after the mid-1930s and the end of the pre-Code era. The signal film in this vein was Double Indemnity , directed by Billy Wilder; setting the mold was Barbara Stanwyck 's femme fatale , Phyllis Dietrichson—an apparent nod to Marlene Dietrich , who had built her extraordinary career playing such characters for Sternberg. An A-level feature,
23944-483: The weapon's improvised nature and uncertain quality, many modern militaries exercise the use of Molotov cocktails. However, Molotov cocktails are not always improvised in the field. It is not uncommon for them to be mass-produced to a certain standard as part of preparation for combat. Some examples of this being done are the anti-invasion preparations of the British Home Guard during World War II and
24108-411: The words of cinema historian Mark Bould, film noir remains an "elusive phenomenon." Though film noir is often identified with a visual style that emphasizes low-key lighting and unbalanced compositions , films commonly identified as noir evidence a variety of visual approaches, including ones that fit comfortably within the Hollywood mainstream. Film noir similarly embraces a variety of genres, from
24272-446: Was "3 cups polystyrene, 2 cups grated soap, 500 millilitres gasoline, 100 millilitres oil, 1 jumbo tampon fuse." The Russian media control organisation Roskomnadzor sued Twitter for not removing instructions for how to prepare and use molotov cocktails, so that Twitter had to pay a fine of 3 million roubles (US$ 41,000). Molotov cocktails were reportedly used in the United States for arson attacks on shops and other buildings during
24436-425: Was French director Jean-Luc Godard 's À bout de souffle ( Breathless ; 1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day. In the United States, Arthur Penn (1965's Mickey One , drawing inspiration from Truffaut's Tirez sur le pianiste and other French New Wave films), John Boorman (1967's Point Blank , similarly caught up, though in
24600-464: Was adapted into film in 1960. Among the first major neo-noir films—the term often applied to films that consciously refer back to the classic noir tradition—was the French Tirez sur le pianiste (1960), directed by François Truffaut from a novel by one of the gloomiest of American noir fiction writers, David Goodis . Noir crime films and melodramas have been produced in many countries in
24764-436: Was an independent distributed by MGM , the industry leader: Force of Evil (1948), directed by Abraham Polonsky and starring John Garfield , both of whom were blacklisted in the 1950s. Independent production usually meant restricted circumstances but Sweet Smell of Success , despite the plans of the production team, was clearly not made on the cheap, though like many other cherished A-budget noirs, it might be said to have
24928-689: Was coined by the Finns during the Winter War in 1939. The name was a pejorative reference to Soviet foreign minister Vyacheslav Molotov , who was one of the architects of the Molotov–Ribbentrop Pact on the eve of World War II . The name's origin came from the propaganda Molotov produced during the Winter War, mainly his declaration on Soviet state radio that incendiary bombing missions over Finland were actually "airborne humanitarian food deliveries" for their "starving" neighbours. As
25092-404: Was filled with a mixture of petrol and paraffin, plus a small amount of tar. The basic bottle had two long pyrotechnic storm matches attached to either side. Before use, one or both of the matches were lit; when the bottle broke on impact, the mixture ignited. The storm matches were found to be safer to use than a burning rag on the mouth of the bottle. There was also an "A bottle". This replaced
25256-420: Was found guilty of making and possessing illegal firearms and was sentenced to 20 years in prison in 2018. Due to the Molotov's ease of production and use by civilian forces, the Molotov cocktail has become a symbol of civil uprising and revolution . The Molotov's extensive use by civilian, and partisan forces has also thereby led to the Molotov becoming a symbol representing civil unrest. The contrast of
25420-400: Was in this way that accomplished noir actress Ida Lupino established herself as the sole female director in Hollywood during the late 1940s and much of the 1950s. She does not appear in the best-known film she directed, The Hitch-Hiker (1953), developed by her company, The Filmakers, with support and distribution by RKO. It is one of the seven classic film noirs produced largely outside of
25584-501: Was largely responsible for spurring a trend of Hollywood gangster films. Successful films in that genre such as Little Caesar (1931), The Public Enemy (1931) and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists. An important, possibly influential, cinematic antecedent to classic noir was 1930s French poetic realism , with its romantic, fatalistic attitude and celebration of doomed heroes. The movement's sensibility
25748-494: Was not even the first screen version of Cain's novel, having been preceded by the French Le Dernier Tournant in 1939.) In Japan, the celebrated Akira Kurosawa directed several films recognizable as films noir, including Drunken Angel (1948), Stray Dog (1949), The Bad Sleep Well (1960), and High and Low (1963). Spanish author Mercedes Formica's novel La ciudad perdida (The Lost City)
25912-480: Was paying affectionate, at points idolatrous homage to the classic mode with Play It Again, Sam (1972). The " blaxploitation " film Shaft (1971), wherein Richard Roundtree plays the titular African-American private eye, John Shaft , takes conventions from classic noir. The most acclaimed of the neo-noirs of the era was director Roman Polanski 's 1974 Chinatown . Written by Robert Towne , it
26076-466: Was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In late 1945, one-armed John J. Macreedy gets off a train at the isolated Californian desert hamlet of Black Rock. The residents are suspicious, as this is the first time in four years that the streamliner express train has stopped at
26240-423: Was sure that there was no water. Komoko dug a well and found water. After Smith was rejected for military service, he and the other men began drinking, and decided to scare Komoko. The old man barricaded himself inside his home, but the men set it on fire. When Komoko emerged ablaze, Smith shot and killed him. Doc and Pete enlist Liz to help Macreedy to escape under cover of darkness. Hector is standing guard outside
26404-684: Was the inspiration for the Dragnet series, which debuted on radio in 1949 and television in 1951. Several directors associated with noir built well-respected oeuvres largely at the B-movie/intermediate level. Samuel Fuller 's brutal, visually energetic films such as Pickup on South Street (1953) and Underworld U.S.A. (1961) earned him a unique reputation; his advocates praise him as "primitive" and "barbarous". Joseph H. Lewis directed noirs as diverse as Gun Crazy (1950) and The Big Combo (1955). The former—whose screenplay
26568-762: Was the second biggest shareholder. Lang, Bennett and her husband, the Universal veteran and Diana production head Walter Wanger , made Secret Beyond the Door (1948) in similar fashion. Before leaving the United States while subject to the Hollywood blacklist , Jules Dassin made two classic noirs that also straddled the major/independent line: Brute Force (1947) and the influential documentary-style The Naked City (1948) were developed by producer Mark Hellinger , who had an "inside/outside" contract with Universal similar to Wanger's. Years earlier, working at Warner Bros., Hellinger had produced three films for Raoul Walsh ,
26732-402: Was white phosphorus, benzene , water and a two-inch strip of raw rubber; all in a half-pint bottle sealed with a crown stopper . Over time, the rubber would slowly dissolve, making the contents slightly sticky, and the mixture would separate into two layers – this was intentional, and the grenade should not be shaken to mix the layers, as this would only delay ignition. When thrown against
26896-412: Was written by the blacklisted Dalton Trumbo , disguised by a front—features a bank hold-up sequence shown in an unbroken take of over three minutes that was influential. The Big Combo was shot by John Alton and took the shadowy noir style to its outer limits. The most distinctive films of Phil Karlson ( The Phenix City Story [1955] and The Brothers Rico [1957]) tell stories of vice organized on
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