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 Encyclopedia
of Film Noir

Geoff Mayer and Brian McDonnell

GREENWOOD PRESS
Encyclopedia of Film Noir
 Encyclopedia
of Film Noir
Geoff Mayer and Brian McDonnell

GREENWOOD PRESS
Westport, Connecticut • London
Library of Congress Cataloging-in-Publication Data
Mayer, Geoff.
Encyclopedia of film noir / by Geoff Mayer and Brian McDonnell.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978–0–313–33306–4 (alk. paper)
ISBN-10: 0–313–33306–8 (alk. paper)
1. Film noir—Encyclopedias. I. McDonnell, Brian. II. Title.
PN1995.9.F54M39 2007
791.43'655–dc22 2007003659
British Library Cataloguing in Publication Data is available.
Copyright © 2007 by Geoff Mayer, Brian McDonnell
All rights reserved. No portion of this book may be
reproduced, by any process or technique, without the
express written consent of the publisher.
Library of Congress Catalog Card Number: 2007003659
ISBN-13: 978–0–313–33306–4
ISBN-10: 0–313–33306–8
First published in 2007
Greenwood Press, 88 Post Road West, Westport, CT 06881
An imprint of Greenwood Publishing Group, Inc.
www.greenwood.com
Printed in the United States of America

The paper used in this book complies with the

Permanent Paper Standard issued by the National
Information Standards Organization (Z39.48–1984).
10 9 8 7 6 5 4 3 2 1
 Contents

List of Films, Actors, and Directors vii

Preface: The Problem of Film Noir xi

PART I: ESSAYS
Introduction: Readings on Film Noir 3
Geoff Mayer
The Hard-Boiled Influence 19
Geoff Mayer
Film Noir and the City 47
Brian McDonnell
McCarthyism, the House Committee on Un-American Activities,
and the Caper Film 62
Geoff Mayer
Film Noir Style 70
Brian McDonnell

PART II: ENTRIES ON FILMS, ACTORS, AND DIRECTORS

The Encyclopedia 85
Selected Bibliography 451
Index 455
 List of Films, Actors,
and Directors

Act of Violence Burr, Raymond

Aldrich, Robert Carnival
Among the Living Cash on Demand
Andrews, Dana Chase, The
Angel Face Chinatown
Apology for Murder Collateral
Asphalt Jungle, The Conte, Richard
Beaumont, Hugh Cook, Elisha, Jr.
Bennett, Joan Corridors of Mirrors
Big Clock, The Cosh Boy
Big Combo, The Crack-Up
Big Heat, The Criminal, The
Big Sleep, The Criss Cross
Black Angel Crooked Way, The
Blonde Ice Crossfire
Blood Simple Croupier
Body Heat Cry of the City
Bogart, Humphrey Dance with a Stranger
Born to Kill Dark City
Breaking Point, The Dark Corner, The
Brighton Rock Dark Passage
Brodie, Steve Daughter of Darkness
Brothers, The Dead Reckoning
Brothers Rico, The Dear Murderer
List of Films, Actors, and Directors

Decoy It Always Rains on Sunday

Desperate Johnny O’Clock
Detour Kansas City Confidential
Devil in a Blue Dress Karlson, Phil
Dmytryk, Edward Killers, The
D.O.A. Killing, The
Double Indemnity Kiss Me Deadly
Duryea, Dan Kiss of Death
Fallen Angel Kiss the Blood Off My Hands
Fallen Sparrow, The Klute
Farrow, John L.A. Confidential
Fear in the Night Ladd, Alan
File on Thelma Jordan, The Lake, Veronica
Force of Evil Lancaster, Burt
Ford, Glenn Lang, Fritz
Framed Late Edwina Black, The
Fuller, Samuel Laura
Garfield, John Leave Her to Heaven
Get Carter Lewis, Joseph H.
Gilda Long Memory, The
Good Die Young, The Lupino, Ida
Goring, Marius MacMurray, Fred
Grahame, Gloria Macomber Affair, The
Great Day Macready, George
Great Flamarion, The Madeleine
Greer, Jane Man from Colorado, The
Gun Crazy Mann, Anthony
Gynt, Greta Mark of Cain, The
Hatter’s Castle Mason, James
Hayden, Sterling Memento
Heflin, Van Mildred Pierce
Hell Drivers Mine Own Executioner
High Sierra Mitchum, Robert
History of Violence, A Money Trap, The
Hitchcock, Alfred Mr. Perrin and Mr. Traill
Hollow Triumph Murder, My Sweet
House Across the Lake, The My Brother’s Keeper
Huston, John My Name Is Julia Ross
I Wake Up Screaming Naked City, The
I Wouldn’t Be in Your Shoes Neal, Tom
Impulse Night and the City
In a Lonely Place Night Has Eyes, The
Interrupted Journey Night Moves

viii
 List of Films, Actors, and Directors

Nightmare Alley Sin City

99 River Street Siodmak, Robert
No Orchids for Miss Blandish Slightly Scarlet
O’Brien, Edmond So Dark the Night
Obsession So Evil My Love
October Man, The Somewhere in the Night
Odds against Tomorrow Sorry, Wrong Number
On Dangerous Ground Spider and the Fly, The
Out of the Past Stanwyck, Barbara
Paris by Night Stranger on the Third Floor
Payne, John Street of Chance
Phantom Lady Sunset Boulevard
Pickup on South Street Take My Life
Pink String and Sealing Wax Taxi Driver
Pitfall They Made Me a Fugitive
Point Blank They Won’t Believe Me
Portman, Eric Third Man, The
Possessed
This Gun for Hire
Postman Always Rings Twice, The
Tierney, Gene
Powell, Dick
Tightrope
Preminger, Otto
T-Men
Prowler, The
Todd, Ann
Pushover
Totter, Audrey
Raw Deal
Ray, Nicholas Touch of Evil
Reckless Moment, The Tourneur, Jacques
Ride the Pink Horse Trevor, Claire
Roadblock True Confessions
Robinson, Edward G. Ulmer, Edgar G.
Rocking Horse Winner, The Under the Gun
Ryan, Robert Undercover Man, The
Savage, Ann Victim
Scandal Sheet Where Danger Lives
Scarlet Street Where the Sidewalk Ends
Scott, Lizabeth Widmark, Richard
Se7en Wilde, Cornell
Set-Up, The Wilder, Billy
711 Ocean Drive Windsor, Marie
Seventh Veil, The Wings of the Dove, The
Seventh Victim, The Winstone, Ray
Shallow Grave Woman in the Window, The

ix
 Preface: The Problem
of Film Noir

Consider the following statements:

From Linda Williams:

Melodrama is the fundamental mode of popular American moving pictures. It is . . .

a peculiarly democratic and American form that seeks dramatic revelation of moral
and emotional truths through a dialectic of pathos and action. It is the foundation of
the classical Hollywood cinema.1

And Steve Neale:

As a single phenomenon, noir, in my view, never existed. That is why no one has
been able to define it, and why the contours of the larger noir canon in particular are
so imprecise.2

Or Alain Silver:

Questions of phenomenology aside, film history is as clear now about film noir as
ever: it finds its existence as obvious as Borde and Chaumeton did forty years ago. If
observers of film noir agree on anything, it is on the boundaries of the classic period
which began in 1941 with The Maltese Falcon and ends less than a score of years later
with Touch of Evil.3
Preface

Again, Alain Silver and Elizabeth Ward:

With the Western, film noir shares the distinction of being an indigenous American
form. It is a self-contained reflection of American cultural preoccupations in film
form. In short, it is the unique example of a wholly American film style.4

Finally, James Naremore:

If we abandoned the word noir, we would have to find another, no less problematic
means of organizing what we see.5

These statements, each from a respected scholar, highlight the difficulties in

discussing film noir. Williams, for example is correct: melodrama, as a form that
seeks the dramatic revelation of moral and emotional truths, is the fundamental
dramatic mode of Hollywood cinema. The narrative trajectory of mainstream
American cinema, as she points out, is ultimately concerned with the “retrieval
and staging of virtue through adversity and suffering.”6 However, while most non-
noir films produced in the 1940s and 1950s conform to this pattern, film noir
does not and its most representative examples refuse to unequivocally endorse
the prevailing moral norms. For example, Criss Cross, Robert Siodmak’s 1949
film for Universal Studios starring Burt Lancaster as Steve Thompson: Thompson
is virtuous and innocent. He is also selfish, obsessive, morally weak, covetous of
another man’s wife, and vulnerable; his demise at the end of the film is humiliating.
Yet, like most Hollywood films, he is the audience’s entry point into the film as
the director is careful to bind the viewer into Thompson’s experience through
a protracted series of point of view shots. Thompson is, in effect, both good and
bad and the film’s moral stance is compromised as a result. This pattern is evident
in many noir films.
A more compelling problem, as seen in the conflicting views offered above by
Steve Neale and Alain Silver, involves the intrinsic questions of what film noir
is and what its historical parameters are. Containing film noir to one or two neat
periods—such as 1939 to 1958, or 1981 to the present—and to assume that films
produced during these periods share a rigid set of common characteristics is dif-
ficult. It is a much more volatile mode than this. Similarly, this volume shows
that film noir is not a unique American form and that other film cultures, such
as the British, have a strong legacy of noir films.7 The Encyclopedia of Film Noir
celebrates the vitality and depth of British film noir through an extensive selection
of representative films.
Furthermore, The Encyclopedia of Film Noir does not limit itself to the large
budget films produced by major studios, such as Paramount and Warner Brothers;
we have tried to include a representative selection of low budget films produced
by so-called Poverty Row studios, such as Republic, Monogram, PRC, and Film
Classics. While the significance of seminal noir films is emphasized throughout
the book, we also acknowledge the importance of many low budget films to the

xii
 Preface

experiences of filmgoers. Many low-budget noir films have disappeared from film
history. Large films like Double Indemnity, for example, benefited from Paramount’s
extensive financial resources and its large network of theatres situated in prime
locations throughout the United States, as well as efficient distribution overseas.
The availability of films such as this, and the frequent scholarly analysis of them for
the past forty years, has resulted in a biased history of film noir. Low budget films,
on the other hand, often had to fend for themselves with little promotion and spo-
radic distribution. This meant that films such as Decoy (Monogram, 1946), Blonde
Ice (Film Classics, 1948), and The Great Flamarion (Republic, 1945), disappeared
under the critical radar and are absent from many studies of film noir. Hence, this
volume not only provides an entry on Double Indemnity but also PRC’s Apology for
Murder (1945), starring Ann Savage, Hugh Beaumont, and Charles D. Hicks, in
the roles played by Barbara Stanwyck, Fred MacMurray, and Edward G. Robinson
in Billy Wilder’s film. Both films were based on the same real-life incident—the
1927 murder of Albert Gray by his wife and her lover—which, in turn, inspired
James M. Cain’s novella. Similarly, less obscure low budget films, such as Detour
(1945), which was filmed in days (as opposed to weeks or months) on a miniscule
budget, and Gun Crazy (1950), which had a slightly higher budget but extensive
distribution problems, are included alongside films produced by the major studios,
as these Poverty Row productions are as important, if not more so, in providing an
authentic representation of film noir in the 1940s and 1950s.
The Encyclopedia of Film Noir is designed to provide an accessible yet scholarly,
user-friendly but research-informed, comprehensive account of the phenomenon
of film noir—both the classical film noir cycle (approximately 1939–1959) as well
the modern, or neo-noir, period, which constitutes films produced after 1959. The
encyclopedia presents this survey of film noir in two main ways. First, it offers five
substantial overview essays in which the authors investigate significant aspects of
film noir and the various contexts within which it developed. These essays explore
the contested nature of noir, as evidenced above in the radically different position
taken by Neale and Silver; in the vexed question of whether it can considered a film
genre; in its relationship to hard-boiled crime fiction; in its iconic presentation of
the American city; in political and cultural influences associated with the post-
war and Cold War periods (including the activities of the House Committee on
Un-American Activities); and in film noir’s distinctive visual style.
Thereafter, the encyclopedia presents an alphabetically organized set of detailed
entries on the films together with significant American and British directors and
actors associated with film noir. Each actor or director entry contains a selected film-
ography that is designed to be inclusive, rather than exclusive, and many so-called
borderline noir films are listed alongside more familiar ones. Similarly, each film
entry provides details on cast, characters, and filmmakers together with a contextual
overview and critique of its themes, narrative structure, and relevance.
The selected bibliography has been compiled as a guide to help the reader find
specific books on specialized aspects of film noir. We tried to cater to both the

xiii
Preface

novice reader—who requires an introduction to film noir—as well as to the more

experienced noir devotee seeking to extend his or her knowledge of this fascinat-
ing period in film history. Each reader, we assume, is interested in the anarchic
spirit of film noir and this volume is designed to satisfy this demand.

NOTES
1. Linda Williams, “Melodrama Revised” in Nick Browne (ed.), Refiguring American
Film Genres. Los Angeles, University of California Press, 1998, p. 42.
2. Steve Neale, Genre and Hollywood. London, Routledge, 2000, pp. 173–174.
3. Alain Silver and James Ursini (eds.), Film Noir Reader. New York, Limelight Edi-
tion, p. 11.
4. Alain Silver and Elizabeth Ward, Film Noir: An Encyclopedic Reference to the Ameri-
can Style. New York, The Overlook Press, 1992, p. 1.
5. James Naremore, More Than Night: Film Noir in its Contexts. Los Angeles, University
of California Press, 1998, p. 276.
6. See Linda Williams, Playing the Race Card: Melodramas of Black and White From Uncle
Tom to O.J. Simpson. Princeton, Princeton University Press, 2001, p. 15.
7. See, for example with regard to the British cinema, Robert Murphy, Realism and Tin-
sel: Cinema and Society in Britain 1939–1949. London, Routledge, 1989; Andrew Spicer,
Film Noir. Harlow, Pearson Education Limited, 2002; Geoff Mayer, Roy Ward Baker. Man-
chester, Manchester University Press, 2004.

xiv
part i

Essays
 Introduction:
Readings on Film Noir
Geoff Mayer

THE FILM NOIR MYTH

Film noir is more than just 1940s and 1950s crime films infused with a higher
quotient of sex and violence than their 1930s counterparts. There is, however, as
Andrew Spicer (2002, vii) argues, a prevailing noir myth that “film noir is quintes-
sentially those black and white 1940s films, bathed in deep shadows, which offered
a ‘dark mirror’ to American society and questioned the fundamental optimism of
the American dream.” There is, of course, some truth contained in this so-called
mythology, although it is more complex than this. Film noir is both a discursive
construction created retrospectively by critics and scholars in the period after the
first wave of noir films (1940–1959) had finished, and also a cultural phenomenon
that challenged, to varying degrees, the dominant values and formal patterns of
pre-1940 cinema.
Within this mythology, there is generally agreement as to the influences that
shaped film noir and provided its parameters. For example, most studies followed
the lead of the French critics in the 1940s and pointed to the importance of the
pulp stories and hard-boiled fiction of writers such as Dashiell Hammett, Raymond
Chandler, James M. Cain, and Cornell Woolrich. Later, other writers, such as
W. R. Burnett and David Goodis, were added to this list. Often this took place
because the novels and short stories from these writers were used as bases for a
number of key noir films in the 1940s—notably Hammett’s The Maltese Falcon
(1941) and The Glass Key (1942); Woolrich’s The Black Curtain (1941, which was
filmed as Street of Chance in 1942), Phantom Lady (1944), and The Black Angel

3
Encyclopedia of Film Noir

(1946); Cain’s Double Indemnity (1944), Mildred Pierce (1945), and The Postman
Always Rings Twice (1946); Burnett’s High Sierra (1941); and Goodis’s Dark Passage
(1947). However, it was not as simple as this, and it is not entirely correct, as dis-
cussed later, to assume that the dark, nihilistic vision expressed by many of these
novelists was merely replicated in the film versions.
A significant aspect of the film noir myth is its formal style, especially the chiar-
oscuro lighting with its low key and frontal lighting setups that produced dark
areas interspersed by extreme brightness. This style, which was largely the result
of restricting the use of fill lights, thereby accentuating the harsh effect of the key
light, was often associated with the influence of German expressionism on film
noir. This visual style, reinforced by the fragmentation of space through set design
and camera compositions that produced unstable lines and surfaces, was perceived
as suggesting a dislocated world permeated by alienation and human despair.
These tendencies found in German expressionism were, it was argued, imported
into Hollywood by German émigrés who had fled Germany after Hitler assumed
power in 1933. This included directors such as Fritz Lang (The Woman in the
Window, 1945), Otto Preminger (Fallen Angel, 1946), Billy Wilder (Double
Indemnity, 1944), and Robert Siodmak (Criss Cross, 1949) as well as German-born
cinematographers such as Karl Freund, Rudolph Maté, John Alton, and Theodore
Sparkuhl. Again, the significance of film noir style and the role of the German
émigrés is not as simple as some studies suggest. German expressionism peaked
almost 20 years before the proliferation of film noir in Hollywood, and these
German émigrés worked on many Hollywood films that had no relevance to film
noir. Also, there were many noir films produced in Hollywood in the 1940s that
did not have German filmmakers working on them.

WHAT IS FILM NOIR?

Prolific American writers Alain Silver and James Ursini ask in their book Film
Noir, What is noir? Their answer includes a familiar list of themes, archetypes,
and influences. They cite, for example, Dashiell Hammett and the “hard-boiled
school of detective fiction” as well as “existentialism and Freudian psychology”
because “these theories helped promote a worldview that stressed the absurdity
of existence along with the importance of an individual’s past in determining his
or her actions. . . . Two of the most important themes of the noir movement, ‘the
haunted past’ and ‘the fatalistic nightmare,’ draw directly from these two sources”
(Silver and Ursini 2004, 15).
They also argue that the 1941 version of The Maltese Falcon was the “first noir
adaptation of writer Dashiell Hammett’s work, starring Humphrey Bogart, and the
‘official’ beginning of the noir movement or classic period” (p. 187). The aim of
their book is to condense and catalogue accepted explanations and evaluations
in the development of film noir. It is often assumed, for example, that because
Hammett’s novels were the basis for the 1941 version of The Maltese Falcon and the

4
 Introduction

1942 version of The Glass Key, his cynical view of the world provided, at least in
part, the philosophical basis for noir in general and for these two films in particu-
lar. Second, it is also assumed that his so-called noir sensibility is not found in the
1931 version of The Maltese Falcon or the 1935 version of The Glass Key.
Does this mean that film noir did not begin until 1941? No, but there are sig-
nificant differences between the 1930s and 1940s versions in terms of style, moti-
vation, and the intensity of the despair and psychological turmoil experienced by
protagonists in the 1940s. This delineation between the 1930s and 1940s brings us
back to the question, What is film noir? Silver and Ursini (2004) address this issue
by dividing noir into separate formal, thematic, and philosophical elements. Out of
this, they argue, a movement called “film noir” emerged with the 1941 version of
The Maltese Falcon, as discussed previously. However, as Steve Neale (2000, 173)
argues, as “a single phenomenon, noir . . . never existed.” Many of its so-called
characteristic features, such as the use of voice-over and flashback, the use of high-
contrast lighting and other expressionist elements, the downbeat endings, and
the culture of distrust between men and women, which often manifested itself in
the figure of the femme fatale, are “separable features belonging to separable ten-
dencies and trends that traversed a wide variety of genres and cycles in the 1940s
and early 1950s” (p. 174). Neale (2000, 174) concludes that

[any] attempt to treat these tendencies and trends as a single phenomenon, to ho-
mogenise them under a single heading, “film noir,” is therefore bound to lead to in-
coherence, imprecision, and inconsistency—in the provision of the criteria, in the
construction of a corpus, or in almost any interpretation of their contemporary socio-
cultural significance.

Film noir, as we know, is unlike other studies of Hollywood genres or cycles

as it was not formed out of the usual sources such as contemporary studio docu-
ments. It is, in essence, a discursive critical construction that has evolved over
time. However, despite its imprecise parameters and poorly defined sources, it is,
as James Naremore (1998, 176) points out, a necessary intellectual category, for
if “we abandoned the word noir we would need to find another, no less problem-
atic, means of organizing what we see.” The contemporary term used by reviewers
to describe films now classified as noir was melodrama—as Steve Neale (1993)
points out in his intensive survey of American trade journals from 1938 to 1960,
nearly every film noir was labeled or described in the trade press as some kind
of melodrama. This included key films such as The Maltese Falcon (1941), This
Gun for Hire, Phantom Lady, The Postman Always Rings Twice, The Killers, Scarlet
Street, Detour, Gilda, Raw Deal, Out of the Past, and many other detective, gothic,
gangster, or horror films enveloped by the noir label.
The reviewers, in an attempt to signify that these films were somehow differ-
ent from other Hollywood melodramas, often attached the terms psychological,
psychiatric, or even neurotic to the melodrama—this included films as diverse as

5
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