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169-401: Lawrence James Tierney (March 15, 1919 – February 26, 2002) was an American film and television actor who is best known for his many screen portrayals of mobsters and "tough-guys" in a career that spanned over fifty years. His roles mirrored his own frequent brushes with the law. In 2005, film critic David Kehr of The New York Times described "the hulking Tierney" as "not so much an actor as
338-473: 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
507-584: 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
676-405: 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
845-679: 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
1014-552: A Los Angeles nursing home. He had been residing there for about a year after suffering another debilitating stroke. The first biography of the actor, Lawrence Tierney: Hollywood's Real-Life Tough Guy , was written by Burt Kearns and published on December 6, 2022, by the University Press of Kentucky . Mobster A gangster is a criminal who is a member of a gang . Most gangs are considered to be part of organized crime . Gangsters are also called mobsters ,
1183-432: 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
1352-442: A dark psychological analysis of a fictionalized Al Capone . These films chronicle the quick rise, and equally quick downfall, of three young, violent criminals, and represent the genre in its purest form before moral pressure would force it to change and evolve. Though the gangster in each film would face a violent downfall which was designed to remind the viewers of the consequences of crime, audiences were often able to identify with
1521-505: A diverse range of criminal enterprises including drug and arms trafficking . The people of the mountainous country of Albania have always had strong traditions of family and clan loyalty, in some ways similar to that of southern Italy. Ethnic Albanian gangs have grown rapidly since 1992 during the prolonged period of instability in the Balkans after the collapse of Yugoslavia. This coincided with large scale migration throughout Europe and to
1690-501: 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
1859-721: A frightening force of nature". Lawrence James Tierney was born in the Bedford-Stuyvesant neighborhood of Brooklyn , New York City on March 15, 1919, the son of Mary Alice (née Crowley; 1895–1960) and Lawrence Hugh Tierney (1891–1964). His father was an Irish-American policeman with the New York aqueduct police force . Tierney was a star athlete at Boys' High School , winning awards for track and field and joining Omega Gamma Delta fraternity. After graduating from high school, he earned an athletic scholarship to Manhattan College but quit after two years to work temporarily as
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#17327936014152028-399: 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
2197-480: 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
2366-466: 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
2535-600: 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
2704-539: A laborer constructing a section of the 85-mile-long Delaware Aqueduct , which supplies nearly half of New York City's water supply. He then drifted around the country from job to job, working for a time as a catalogue model for Sears Roebuck & Company . After an acting coach suggested he try the stage, Tierney joined the Black Friars theatre group, moving on to the American-Irish Theatre. He
2873-485: A legitimate government. The term " organized crime " is associated with gangs and gangsters, but is not synonymous. A small street gang that engages in sporadic low-level crime would not be seen as "organized". An organization that coordinates gangs in different countries involved in the international trade in drugs or prostitutes may not be considered a "gang". There are several organized crime groups in Italy . Notably,
3042-493: A mild stroke in 1995 which made him gradually slow his career. He had suffered a previous stroke in 1982. He turned to doing voice-over work on animated features and made occasional appearances in film and television (most of which feature him only sitting) as his health slowly deteriorated until his death. One of Tierney's later roles was an uncredited cameo appearance as Bruce Willis ' disabled father in Armageddon (1998) in
3211-410: 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
3380-528: A more substantial supporting role as the father of protagonist Ryan O'Neal in Norman Mailer 's film adaptation of his own novel Tough Guys Don't Dance (1987). He also played a baseball-bat wielding bar owner in the film adaptation of Stephen King 's Silver Bullet . Tierney credited Tough Guys Don't Dance in particular with rejuvenating his acting career, and he personally ranked it as some of his best work. In 1988, Tierney played Cyrus Redblock,
3549-578: 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
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#17327936014153718-532: 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
3887-617: 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
4056-500: 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,
4225-531: 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
4394-871: A shared criminal subculture or code, include the Camorra in Naples and Campania and the Ndrangheta in Calabria . Organized crime has existed in Russia since the days of Imperial Russia in the form of banditry and thievery. Joseph Stalin , who emerged as the absolute dictator of the Soviet Union had previously founded the Outfit, a criminal gang that were involved with armed robberies , racketeering , assassinations , arms procurement and child couriering . In
4563-637: A short scene which ended up being deleted from the theatrical version. The same year, his long-time agent, Don Gerler, recounted Tierney's continuing troubles with the law: "A few years back [in 1994] I was still bailing him out of jail. He was 75-years-old and still the toughest guy in the bar!" His final acting role was a small part in the 1999 independent film Evicted , written and directed by his nephew Michael Tierney, after which Lawrence Tierney, then age 80, retired from acting altogether. Tierney's numerous arrests for being drunk and disorderly, and jail terms for assault on civilians and police officers alike, took
4732-561: A small speaking role as the chief of the New York City police in John Huston 's Prizzi's Honor . Between 1985 and 1987, Tierney made several guest appearances on the last two seasons of the police drama Hill Street Blues , portraying Desk Sergeant Jenkins working the precinct's night shifts. He spoke the last line of dialogue on the series' final episode when he answered the front desk phone, uttering "Hill Street." Tierney had
4901-399: 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
5070-550: 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 ,
5239-412: A term derived from mob and the suffix -ster . Gangs provide a level of organization and resources that support much larger and more complex criminal transactions than an individual criminal could achieve. Gangsters have been active for many years in countries around the world. Gangsters are the subject of many novels, films, television series, and video games. In modern usage, the term " gang "
Lawrence Tierney - Misplaced Pages Continue
5408-470: A toll on his career. He was an admitted alcoholic who tried to go sober in 1982 after having a mild stroke, once observing during a 1987 interview that he "threw away about seven careers through drink". Between 1944 and 1951, Tierney was arrested at least twelve times in Los Angeles for brawling—fistfighting with multiple people—and frequently for drunkenness which included ripping a public telephone off
5577-740: A tough holodeck gangster in the Star Trek: The Next Generation episode " The Big Goodbye ". In February 1991, he guest-starred as Elaine Benes 's gruff father Alton Benes in the Seinfeld episode " The Jacket ". In 1991, Quentin Tarantino cast him in a supporting role as crime lord Joe Cabot in Reservoir Dogs . The success of the film bookended Tierney's career in playing gangsters. In an homage to his first starring role, Tierney reports that one of his henchmen
5746-533: 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
5915-587: 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
6084-622: A wall in a bar, hitting a waiter in the face with a sugar bowl for refusing to serve him any more drinks, and attempting to choke a taxi driver. He was jailed for three months for brawling in May 1947 and again in June 1949 and drunkenness in January 1949 and October 1950. His legal troubles included a 90-day jail sentence which he served from August to October 1951 for breaking a New York college student's jaw during another barroom brawl. He served 66 days in
6253-554: 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
6422-489: 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)
6591-580: 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)
6760-535: 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,
6929-525: 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
Lawrence Tierney - Misplaced Pages Continue
7098-461: 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
7267-452: 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
7436-561: Is generally used for a criminal organization and the term "gangster" invariably describes a criminal. Much has been written on the subject of gangs, although there is no clear consensus about what constitutes a gang or what situations lead to gang formation and evolution. There is agreement that the members of a gang have a sense of common identity and belonging and this is typically reinforced through shared activities and through visual identifications such as special clothing, tattoos, colors, or rings. Some preconceptions may be false. For example,
7605-512: 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
7774-636: 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
7943-537: Is presented as a moral outcome, it is usually seen as no more than an accidental failure. The gangster is typically articulate, although at times lonely and depressed, and his worldly wisdom and defiance of social norms has a strong appeal, particularly to adolescents. The years 1931 and 1932 saw the genre produce three classics: Warner Bros. ' Little Caesar and The Public Enemy , which made screen icons out of Edward G. Robinson and James Cagney , and Howard Hughes ' Scarface starring Paul Muni , which offered
8112-552: 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 ,
8281-453: 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
8450-461: Is then broken down into smaller loads for smuggling across the U.S.–Mexico border . Arrests of key gang leaders, particularly in the Tijuana and Gulf cartels, have led to increasing drug violence as gangs fight for control of the trafficking routes into the United States. Cocaine traffickers from Colombia, and recently Mexico, have also established a labyrinth of smuggling routes throughout
8619-536: 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
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#17327936014158788-539: 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
8957-524: The Afghan and First and Second Chechen Wars , now unemployed but with experience that could prove useful in crime, joined the increasing crime wave. At first, the Vory v Zakone played a key role in arbitrating the gang wars that erupted in the 1990s. By the mid-1990s it was believed that "Don" Semion Mogilevich had become the "boss of all bosses" of most Russian Mafia syndicates in the world, described by
9126-498: 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
9295-656: The Caribbean , the Bahama Island chain, and South Florida. They often hire traffickers from Mexico or the Dominican Republic to transport the drug. The traffickers use a variety of smuggling techniques to transfer their drug to U.S. markets. These include airdrops of 500–700 kg in the Bahama Islands or off the coast of Puerto Rico , mid-ocean boat-to-boat transfers of 500–2,000 kg, and
9464-558: The Five Families founded in the early 20th century, outlasted its founders and have survived into the 21st century. Large and well structured gangs such as the Mafia , drug cartels , Triads , Crips , Bloods , or even outlaw motorcycle gangs can undertake complex transactions that would be far beyond the capability of one individual, and can provide services such as dispute arbitration and contract enforcement that parallel those of
9633-579: The Prohibition era of the 1920s and 1930s. The classic gangster movie ranks with the Western as one of the most successful creations of the American movie industry. The "classic" form of gangster movie, rarely produced in recent years, tells of a gangster working his way up through his enterprise and daring, until his organization collapses while he is at the peak of his powers. Although the ending
9802-606: The Qing dynasty , which were given the triangle as their emblem. The first record of a triad society, Heaven and Earth Gathering , dates to the Lin Shuangwen uprising on Taiwan from 1786 to 1787. The triads evolved into criminal societies. When the Chinese Communist Party came to power in 1949 in mainland China, law enforcement became stricter and tough governmental crackdown on criminal organizations forced
9971-750: The Rizzuto crime family . The terms "gangster" and "mobster" are mostly used in the United States to refer to members of criminal organizations associated with Prohibition . In 1920, the Eighteenth Amendment of the United States Constitution banned the sale, manufacture, and transportation of alcohol for consumption. Many gangs sold alcohol illegally for profit, and used acute violence to stake turf and protect their interest. Often, police officers and politicians were paid off or extorted to ensure continued operation. Al Capone
10140-533: The Sicilian Mafia , or Cosa Nostra is a criminal syndicate that emerged in the mid-nineteenth century in Sicily, Italy . It is a loose association of criminal groups that share common organizational structure and code of conduct . The origins lie in the upheaval of Sicily's transition out of feudalism in 1812 and its later annexation by mainland Italy in 1860. Under feudalism, the nobility owned most of
10309-512: The Western Badman's Territory (1946) in which he portrays Jesse James . However, as ticket sales for Dillinger continued to rise and that film's financial success became apparent at RKO, the studio promoted Tierney in 1946 to star status in Step by Step , another film noir , one that portrays an ex-Marine being falsely accused of murder. He next starred as a reformed prison inmate in
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#173279360141510478-882: The Whyos and the Dead Rabbits . These were followed by the Italian Five Points Gang and later a Jewish gang known as the Eastman Gang . There were also " Nativist " anti-immigration gangs such as the Bowery Boys . The Italian-American Mafia arose from offshoots of the Mafia that emerged in the United States during the late 19th century, following waves of emigration from Sicily. There were similar offshoots in Canada among Italian Canadians , such as
10647-399: 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
10816-493: 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
10985-536: 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
11154-433: The 15-year-old Wheaton for not playing sports and belittled him with homophobic slurs. The Simpsons showrunners and writers Josh Weinstein and Bill Oakley stated on Twitter numerous incidents regarding Tierney’s voice recording session for the show, including threatening and bullying the writers and staff, sexually harassing a female casting director and making strange demands for his role, such as insisting he voice
11323-575: 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,
11492-420: 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
11661-545: The 1946 release San Quentin . The next year he was cast as the lead in two more RKO productions that have since gained cult followings among film noir enthusiasts: The Devil Thumbs a Ride directed by Felix E. Feist and the more notorious Born to Kill directed by Robert Wise . In Feist's film, Tierney plays a homicidal hitch-hiker, while under Wise's direction he portrays a suave but murderous conman. Film critic Bosley Crowther of The New York Times condemned Born to Kill upon its release in 1947, professing that it
11830-540: The 1970s and 1980s. It was founded and run by Ochoa Vázquez brothers with Pablo Escobar . By 1993, the Colombian government, helped by the US, had successfully dismantled the cartel by imprisoning or hunting and gunning down its members. Although Mexican drug cartels, or drug trafficking organizations, have existed for several decades, they have become more powerful since the demise of Colombia's Cali and Medellín cartels in
11999-503: The 1980s. In the late 1980s and early 1990s there was a surge of imports of action movies from Hong Kong. The first of the new wave of important home grown gangster movies was Im Kwon-taek 's General's Son (1990). Although this movie followed the earlier tradition, it was followed by a series of sophisticated gangster noirs set in contemporary urban locations, such as A Bittersweet Life (2005). Film noir Film noir ( / n w ɑːr / ; French: [film nwaʁ] )
12168-404: The 1990s. Mexican drug cartels now dominate the wholesale illicit drug market in the United States. Sixty five percent of cocaine enters the United States through Mexico, and the vast majority of the rest enters through Florida. Cocaine shipments from South America transported through Mexico or Central America are generally moved over land or by air to staging sites in northern Mexico. The cocaine
12337-521: The Badmen (1951). After co-starring in The Bushwhackers (1952), director Cecil B. DeMille cast him as the villain who causes a train wreck in the 1952 Best Picture Oscar-winner The Greatest Show on Earth . Tierney's supporting work in that film earned him a request by the director of Paramount Pictures to put him under contract, but that proposal was dropped by the studio when Tierney
12506-580: The British government as "one of the most dangerous men in the world". More recently, criminals with stronger ties to big business and the government have displaced the Vory from some of their traditional niches, although the Vory are still strong in gambling and the retail trade. The Albanian Mafia is active in Albania , the United States, and the European Union (EU) countries, participating in
12675-560: 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
12844-466: 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
13013-449: 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
13182-450: 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;
13351-403: 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
13520-470: 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
13689-571: The United States and Canada. Although based in Albania, the gangs often handle international transactions such as trafficking in economic migrants, drugs and other contraband, and weapons. Other criminal organizations that emerged in the Balkans around this time are popularly called the Serbian Mafia , Bosnian Mafia , Bulgarian Mafia , and so on. In China, Triads trace their roots to resistance or rebel groups opposed to Manchu rule during
13858-500: The United States being the world's largest consumer of cocaine. Colombia is the world's leading producer of cocaine , and also produces heroin that is mostly destined for the US market. The Medellín Cartel was an organized network of drug suppliers and smugglers originating in the city of Medellín , Colombia. The gang operated in Colombia, Bolivia , Peru , Central America, the United States, as well as Canada and Europe throughout
14027-461: The United States often joined these tongs. With a new wave of migration in the 1960s, street gangs began to flourish in major cities. The Tongs recruited these gangs to protect their extortion, gambling and narcotics operations. As American society and culture developed, new immigrants were relocating to the United States. The first major gangs in 19th century New York City were the Irish gangs such as
14196-550: The West (1967), and Killer Without a Face (1968). After his work on A Child is Waiting he moved to France. After several years there, Tierney returned to New York City, but his troubles with the law resumed. In New York City, he worked as a bartender and construction worker, and drove a horse-drawn carriage in Central Park . According to the book The Films of John Avildsen: Rocky, The Karate Kid and Other Underdogs , Tierney
14365-535: 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 ,
14534-432: The acclaimed director Wong Kar-wai was a gangster movie, As Tears Go By . In it the protagonist finds himself torn between his desire for a woman and his loyalty to a fellow gangster. Infernal Affairs (2002) is a thriller about a police officer who infiltrates a triad and a triad member who infiltrates the police department. The film was remade by Martin Scorsese as The Departed . Gangster films make up one of
14703-417: 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
14872-661: The bosses of the most powerful families would have equal say and vote on important matters and solve disputes between families. This group ruled over the National Crime Syndicate and brought in an era of peace and prosperity for the American Mafia. Most cocaine is grown and processed in South America, particularly in Colombia , Bolivia , Peru , and smuggled into the United States and Europe,
15041-463: The charismatic anti-hero. Those suffering from the Depression were able to relate to the gangster character who worked hard to earn his place and success in the world, only to have it all taken away from him. Latin American gangster movies are known for their gritty realism. Soy un delincuente (English: I Am a Criminal) is a 1976 Venezuelan film by director Clemente de la Cerda. The film tells
15210-567: The city jail in Chicago, Illinois from March to May 1952 on drunk and disorderly charges. In October 1951, he was sent to a mental hospital in Chicago after being found in a church in a disheveled state. In New York City, he was arrested for assault and battery of a barroom pianist in August 1953, and in October 1958 for resisting arrest and assaulting two police officers in another barroom brawl. At
15379-408: 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
15548-489: 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
15717-473: 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
15886-473: The commercial shipment of tonnes of cocaine through the port of Miami. Another route of cocaine traffic goes through Chile, this route is primarily used for cocaine produced in Bolivia since the nearest seaports lie in northern Chile. The arid Bolivia-Chile border is easily crossed by 4x4 vehicles that then head to the seaports of Iquique and Antofagasta . Gangs have long been the subject of movies. In fact,
16055-469: The common view that illegal drug distribution in the United States is largely controlled by gangs has been questioned. A gang may be a relatively small group of people who cooperate in criminal acts, as with the Jesse James gang, which ended with the leader's death in 1882. However, a gang may also be a larger group with a formal organization that survives the death of its leader. For example, each of
16224-434: 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
16393-585: The end of the '60s and the beginning of the '80s, with the closure of the film depicting the war between the drug dealer Li'l Zé and criminal Knockout Ned . The film received four Academy Award nominations in 2004. The first yakuza (gangster) film made in Japan was Bakuto (Gambler, 1964). The genre soon became popular, and by the 1970s the Japanese film industry was turning out a hundred mostly low-budget yakuza films each year. The films are descendants of
16562-516: The entire performance with a Southern accent. During the filming of Seinfeld , Jason Alexander and Jerry Seinfeld caught Tierney in the act of stealing knives from the set. When Seinfeld confronted him, Tierney began to laugh nervously and jokingly pretended to stab Seinfeld while imitating the music from the film Psycho . The entire crew was uncomfortable with Tierney following the incident, prompting Seinfeld to not hire Tierney again. Julia Louis-Dreyfus complimented Tierney’s performance on
16731-406: 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
16900-494: 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
17069-458: 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
17238-647: 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
17407-458: The film's director Quentin Tarantino in an interview. Tarantino never again worked with or hired Tierney to act in his films. Tierney’s Reservoir Dogs co-star Chris Penn recounted an incident in which Tierney stole a lamp for no apparent reason and showed it off to Penn while the two drove in Penn’s car. Wil Wheaton recalled that while filming Star Trek: The Next Generation , Tierney mocked
17576-461: 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
17745-486: The first feature-length movie ever produced was The Story of the Kelly Gang (1906), an Australian production that traced the life of the outlaw Ned Kelly (1855–1880). The United States has profoundly influenced the genre, but other cultures have contributed distinctive and often excellent gangster movies. The stereotypical image and myth of the American gangster is closely associated with organized crime during
17914-559: 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
18083-490: 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
18252-588: 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
18421-483: 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),
18590-414: 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
18759-409: 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
18928-446: The land and enforced law and order through their private armies. After 1812, the feudal barons steadily sold off or rented their lands to private citizens. Primogeniture was abolished, land could no longer be seized to settle debts, and one fifth of the land was to become private property of the peasants. Other similarly large and powerful Italian criminal organizations, often composed of smaller gangs or "clans" generally operating under
19097-427: 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
19266-440: 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
19435-562: 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
19604-484: The mainstream movies in the genre deal with Triad societies portrayed as quasi-benign organizations. The movie gangster applies the Taoist principles of balance and honor to his conduct. The plots are often similar to those of Hollywood gangster movies, often ending with the fall of the subject of the movie at the hands of another gangster, but such a fall is far less important than a fall from honor. The first movie made by
19773-492: 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
19942-538: The mid- Edo period : tekiya , those who primarily peddled illicit, stolen or shoddy goods; and bakuto , those who were involved in or participated in gambling. In the late 1860s, many Chinese emigrated to the United States, escaping from insecurity and economic hardship at home, at first working on the west coast and later moving east. The new immigrants formed Chinese Benevolent Associations. In some cases these evolved into Tongs , or criminal organizations primarily involved in gambling. Members of Triads who migrated to
20111-455: 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
20280-452: 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
20449-474: 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
20618-612: 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
20787-485: The most profitable segments of the South Korean film industry. Films made in the 1960s were often influenced by Japanese yakuza films, dealing with internal conflict between members of a gang or external conflict with other gangs. The gangsters' code of conduct and loyalty are important elements. Starting in the 1970s, strict censorship caused decline in the number and quality of gangster movies, and none were made in
20956-426: 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 ...
21125-501: 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
21294-416: 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
21463-585: The other by Salvatore Maranzano . This caused the Castellammarese War , which led to Masseria's murder in 1931. Maranzano then divided New York City into five families . Maranzano, the first leader of the American Mafia, established the code of conduct for the organization, set up the "family" divisions and structure, and established procedures for resolving disputes. In an unprecedented move, Maranzano set himself up as boss of all bosses and required all families to pay tribute to him. This new role
21632-578: 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
21801-442: The period of Soviet Union , Vory v Zakone emerged, a class of criminals that had to abide by certain rules in the prison system. One such rule was that cooperation with the authorities of any kind was forbidden. During World War II some prisoners made a deal with the government to join the armed forces in return for a reduced sentence, but upon their return to prison they were attacked and killed by inmates who remained loyal to
21970-459: 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
22139-467: The picture. Following Born to Kill , Tierney was periodically cast in more sympathetic roles. In RKO's 1948 release Bodyguard , based on a story co-written by Robert Altman and George W. George , he plays a man wrongly accused of murder. That year RKO also announced its intentions to star him in The Clay Pigeon , but Bill Williams was instead assigned the leading role. In 1950, Tierney
22308-542: 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
22477-411: The production as a quintessential example of film noir , in particular of RKO's approach to the genre. Reflecting on his career, Tierney maintained that he did not like playing such violent roles: I resented those pictures they put me in. I never thought of myself as that kind of guy. I thought of myself as a nice guy who wouldn't do rotten things. I hated that character so much but I had to do it for
22646-566: 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
22815-705: The rules of the thieves. In 1988, the Soviet Union legalized private enterprise but did not provide regulations to ensure the security of market economy. Crude markets emerged, the most notorious being the Rizhsky market where prostitution rings were run next to the Rizhsky Railway Station in Moscow. As the Soviet Union headed for collapse many former government workers turned to crime, while others moved overseas. Former KGB agents and veterans of
22984-430: The samurai epics, and are closer to Westerns than to Hollywood gangster movies. The hero is typically torn between compassion for the oppressed and his sense of duty to the gang. The plots are generally highly stylized, starting with the protagonist being released from prison and ending in a gory sword fight in which he dies an honorable death. Although some Hong Kong gangster movies are simply vehicles for violent action,
23153-559: 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
23322-569: The show but stated he was a “total nutjob.” With much of his career and personal life repeatedly embroiled in legal problems and hampered by chronic alcoholism, Tierney elected to never marry despite having several short-term relationships with a number of women in the 1940s, 1950s and 1960s. He did, however, father a daughter named Elizabeth who was born in 1961. Both of Tierney's younger brothers preceded him in death, Edward dying in 1983 and Gerard (actor Scott Brady ) in 1985. Tierney died on February 26, 2002, at age 82, in his sleep of pneumonia in
23491-470: 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
23660-772: The stage, playing Duke Mantee in a touring version of The Petrified Forest alongside Franchot Tone and Betsy von Furstenberg . During the 1950s and 1960s, Tierney had guest roles in many television series, including Naked City , The Detectives , New York Confidential , Man with a Camera , Adventures in Paradise , Peter Gunn , The Barbara Stanwyck Show , Follow the Sun , Bus Stop , The Lloyd Bridges Show , and The Alfred Hitchcock Hour . Among his film roles were parts in John Cassavetes ' A Child Is Waiting (1963), Naked Evil (1966), Custer of
23829-407: The story of Ramón Antonio Brizuela, a real-life individual, who since childhood has to deal with rampant violence and the drugs, sex and petty thievery of a Caracas slum. Starting with delinquency, Ramón moves on to serious gang activity and robberies. He grows into a tough, self-confident young man who is hardened to violence. His views change when his fiancée's brother is killed in a robbery. The film
23998-422: The studio executives, allowing things to be smoothed out and the filming completed. Tierney later apologized to Tarantino and invited him to drink at a bar. Tarantino accepted his apology but declined to drink with Tierney, and vowed to never work with him again. Despite his reputation as a brawler and being difficult to work with, Tierney remained in steady demand as a character actor in Hollywood until he suffered
24167-594: 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
24336-529: The time of his October 1958 arrest outside a Manhattan bar, The New York Times reported that he had been arrested six times in California and five in New York City on similar charges. In January 1973, he was stabbed in a bar fight on the West Side of Manhattan. Two years later, Tierney was questioned by New York City police in connection with the apparent suicide of a 24-year-old woman who had jumped from
24505-558: 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,
24674-668: The triads to migrate to Hong Kong, then a British colony, and other cities around the world. Triads today are highly organized, with departments responsible for functions such as accounting, recruiting, communications, training and welfare in addition to the operational arms. They engage in a variety of crimes including extortion, money laundering, smuggling, trafficking and prostitution. Yakuza are members of traditional organized crime syndicates in Japan. They are notorious for their strict codes of conduct and very organized nature. As of 2009 they had an estimated 80,900 members. Most modern yakuza derive from two classifications which emerged in
24843-408: The window of her high-rise apartment. Tierney told police "I had just gotten there, and she just went out the window." He was never arrested or charged with the young woman's death. In July 1991, during the filming of Reservoir Dogs , Tierney shot at his nephew in a drunken rage at his Hollywood apartment, and was arrested and jailed. He was released for one day to continue filming, as recounted by
25012-411: 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
25181-436: Was "dead as Dillinger". During production, Tierney's off-screen antics both amused and disturbed the cast and crew. At the end of his first week of directing Reservoir Dogs , Tarantino got into a shoving match with Tierney and fired him. The entire crew burst into applause. He later referred to Tierney as "a complete lunatic" who "just needed to be sedated". Tierney’s co-star Harvey Keitel later spoke with Tierney, Tarantino and
25350-433: Was "not only morally disgusting but an offense to a normal intellect." He decried that Tierney, "as the bold, bad killer whose ambition is to 'fix it so's I can spit in anybody's eye,'" was "given outrageous license to demonstrate the histrionics of nastiness." Despite such negative contemporary reviews of the film, more recent critics and film historians have expressed admiration for Tierney's intense performance and identified
25519-425: 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
25688-546: Was a blockbuster hit in Venezuela. City of God ( Portuguese : Cidade de Deus ) is a 2002 Brazilian crime drama film directed by Fernando Meirelles and co-directed by Kátia Lund , released in its home country in 2002 and worldwide in 2003. All the characters existed in reality, and the story is based on real events. It depicts the growth of organized crime in the Cidade de Deus suburb of Rio de Janeiro , between
25857-464: 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
26026-814: Was also in The Kirlian Witness (1980), Bloodrage (1980), and Arthur (1981). He was second billed in the independently produced horror film Midnight (1982). Tierney moved back to Los Angeles in December 1983, and over the next 16 years, resumed a fairly successful acting career in film and television. He guest-starred on several television shows such as Remington Steele , Fame , Hunter , Hill Street Blues , L.A. Law , Star Trek: The Next Generation , Star Trek: Deep Space Nine , and The Simpsons . Former Simpson's show runner Josh Weinstein called Tierney's appearance "the craziest guest star experience we ever had". In 1985, Tierney had
26195-436: 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
26364-591: Was arrested for fighting in a bar. For the remainder of the 1950s, Tierney continued to work in supporting roles in The Man Behind the Badge , The Steel Cage (1954), and Singing in the Dark (1956). He did share top billing with Kathleen Crowley , John Carradine , and Jayne Mansfield in the low-budget film noir Female Jungle (1956), but as offers of further screen work steadily declined, he returned to
26533-609: Was cast by Eagle-Lion Films to star in Kill or Be Killed , directed by Max Nosseck , who had also directed Dillinger . That same year, however, Tierney only received second billing in Joseph Pevney 's Shakedown , although in 1951 he returned to a starring role in another film produced by Eagle Lion and directed by Nosseck: The Hoodlum . He then returned to RKO to play a supporting role, performing again as Jesse James in Best of
26702-400: 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
26871-501: 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
27040-494: 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)
27209-537: Was one of these notorious gangsters during the Depression era for the Chicago Outfit . Capone would rise to control a major portion of illicit activity such as gambling, prostitution, and bootlegging in Chicago during the early 20th century. In New York City, by the end of the 1920s, two factions of organized crime had emerged to fight for control of the criminal underworld, one led by Joe Masseria and
27378-480: 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
27547-421: Was received negatively, and Maranzano was murdered within six months on the orders of Charles "Lucky" Luciano . Luciano was a former Masseria underling who had switched sides to Maranzano and orchestrated the killing of Masseria. As an alternative to the previous despotic Mafia practice of naming a single Mafia boss as capo di tutti capi , or "boss of all bosses," Luciano created The Commission in 1931, where
27716-463: Was spotted there in 1943 by an RKO talent scout and given a film contract to work in Hollywood, California. In 1943 and 1944, Tierney was cast in several uncredited roles in RKO releases such as Gildersleeve on Broadway , Government Girl , The Ghost Ship for producer Val Lewton , The Falcon Out West , Seven Days Ashore , and Youth Runs Wild , also for Lewton. Tierney's breakthrough role
27885-871: Was starring as 1930s bank robber John Dillinger in 1945's Dillinger , made for the King Brothers and Monogram Pictures , which borrowed him from RKO. Advertised as a tale "written in bullets, blood, and blondes", Dillinger was initially banned from theaters in Chicago and other cities where the gangster had operated. A low-budget production that cost $ 60,000 to make—equivalent to $ 1,015,000 in 2023— Dillinger nevertheless proved popular, with Tierney being characterized as "memorably menacing". Back at RKO, Tierney resumed his work there in small and supporting roles in Those Endearing Young Charms (1945), Back to Bataan (1945) (with John Wayne in one scene), Mama Loves Papa (1946), and in
28054-955: Was supposed to play the role of Joe Curran in Avildsen's 1970 hit Joe . However, he was fired due to an incident two days before principal photography began when he was arrested for assaulting a bartender who refused to serve him any more hard liquor. During the 1970s, he occasionally found film work, appearing in a bit part as a security guard in Otto Preminger 's Such Good Friends (1971), as an FBI agent in Joseph Zito 's Abduction (1975), in Andy Warhol's Bad , in 1976 (which he later described as "a terrible experience—unprofessional"), as well as small roles in Cassavetes' Gloria (1980) and Zito's The Prowler (1981). He
28223-684: 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
28392-762: 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 ,
28561-412: 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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