Sun, 1 January 2006
The question of whether Hitchcock is a noir director remains open. What is certain is that by 1946 noir aesthetics began to inflect every genre from the Holiday picture ("It's a Wonderful Life") to the espionage/thriller film. Like "The Third Man," "Notorious" is best described as the latter, for its political and geographical scope exceed what is typical of noir, and justice is defined and done in unambiguous terms. Nevertheless, at crucial moments a noir camera vision is manifest. More importantly, Hitchcock has his stars play their darkest roles: Bergman is the alcoholic tramp daughter of a convicted Nazi; Grant plays the cold-hearted and sadistic spy who is her only hope. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.
Having recently received a free MP3 player (a new technology for me) I investigated the world of ‘podcasts’. To my delight I discovered your website and have downloaded a couple of your critical assessments of Film Noir. What a delight. I wonder how many of your other ‘students’ listen to your informative views whilst walking across the fields and orchards of rural Herefordshire (England) as I do. Thank you
Thanks for your lovely comment on our podcast at Out of the Past: Investigating Film Noir. I love the image you conjure. The contrast between lovely woods and noir brings to mind the opening scene of Jacques Tourneur\'s film \"Out of the Past,\" with a similar clash between the idyllic and the noir thematic. I am glad you are enjoying the podcasts. We started recording our conversations on film noir starting in 2005, so there are plenty of episodes for you to listen to. Thanks for listening.
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