A Spotlight on Evil and Darkness
When one hears the term “film noir” it’s usually associated with black and white detective flicks, distinctive silhouettes, and shadows stronger than light. Some would even say that noir films are “too stylized” or “overtly contrasty,” but that’s where most are wrong. Film noir lighting techniques often get overlooked, after all the style was consistent because it was it was a cheap and easy way to capture that “cinematic” look. Harsh lights and big shadows are to them what a “shallow depth of field,” and “buttery smooth bokeh” is to any modern day filmmaker.
Then again, it’s never about the techniques themself and how impressive they may look, but how, when, and why those techniques are used. “Do they further the plot? “Does it make the audience feel something?” And most importantly, “what’s the point?”
A great director can do the most with the least, and that’s what directors of the 40s and 50s had to work with; the least. They had a handful of lights, and a single camera, but with that they’ve been able to direct scenes that provoke anxiety, suspicion, and fear; the aftermath ambience of World War II.
Through this article we’ll explore how films such as Gilda, and In a Lonely Place utilized basic filmmaking techniques to invoke anxiety, specifically through their use of mis-en-scene elements such as lighting, composition, and even wardrobe.
The Films
In a Lonely Place follows Bogart’s Dixon Steele, and his neighbor Laurel played by Gloria Grahame, while they form a relationship. As their love starts to bud suspicions are raised as to whether Steele, an ex military turned screenwriter, had any involvement with the murder of a young woman he met once. As the police, and Laurel begin to press on him his behavior becomes more and more erratic. As a terrified Laurel attempts to run away, Steele gets wind of her plans and attacks her. Before he can do anything though he’s proven innocent.
Gilda is about three individuals. Johnny Farrell, small-time American gambler turned loyalist bodyguard, Ballin Mundson, casino owner running a lucrative monopoly, and Gilda, beautiful new fie to Ballin, and ex to Johnny. The three all have a distinctively interesting dynamic, and we the audience witness a quasi love triangle form. When Ballin is thought dead Gilda re-connects with Johnny, only to want nothing but to escape from his grasp.
The Scenes
In the scene Laurel is preparing to run away from Steele, but having second thoughts. Steele comes home, she’s caught in the act, and slowly starts to crumble.
Lots of elements stick out in this scene, it’s so wonderfully directed. As an audience we can’t help but feel the fear and anxiety played out by Grahame’s character Laurel.
One element that sticks out is the costuming, take a look at Steele’s outfit compared to Laurel. Laurel is dressed in a gown, very light, and comfortable, whereas Steele’s character wears a suit, stiff and uptight. While Laurel dresses to be free, Steele’s outfit is clearcut, and serious; he means business.
Another detail that shouldn’t go overlooked is the colors. Laurel’s attire is bright grey, almost white. Steele’s suit isn’t just dark, it is easily the darkest thing within the frame. One outfit conveys a stiff overbearing darkness, whilst the other is a literal, and metaphorical contrast. As the scene progresses we see the darkness literally trying to snuff out the light.
Another element that sticks out is the lighting, specifically the direct light used on Steele’s face from 1:06–1:18. The way the light subtly lights his face, almost putting a spotlight on his eyes as he slowly picks up on a suspicion that something is up with his bride to be. The light also helps to literally put a spotlight on Bogart’s incredible performance, as we watch his suspicion set in.
Another fantastic scene with clear direction, and a wonderful use of basic filmmaking techniques. In this scene Johnny is bringing Gilda home from her early morning shenanigans, under the pretense that they were “swimming.” While Ballin appears to buy it, it’s clear he’s suspicious of his wife.
Much like the scene from In a Lonely Place, Gilda makes excellent use of costume, and lighting to increase tension and anxieties. We can’t see Ballin’s outfit, but that’s exactly it; it’s dark, and overbearing. He’s a literal embodiment of darkness itself, and the way he makes the other two characters in the frame uncomfortable is a testament to this. While both Johnny, and Gilda are shrouded in light, Ballin’s presence alone fills a third of the screen.
When confronting Johnny about the “swimming” and making a comment about how he’s going to have to teach him (1:50) the lighting is beautifully executed in that Johnny is cast in light, but Ballin’s character maintains his silhouette. The lighting is almost terrifying, and makes Ballin less human, almost monster like.
The composition is also interesting in that Gilda and Johnny look small compared to Ballin (0:00–1:31). Ballin is so large and overbearing that his head doesn’t fit in the frame, whereas we almost have a full body shot of the other two character. This style of framing only helps emphasize this idea that Ballin is monster like. Without a full body to look at we can’t help but wonder why are they speaking to this figure of darkness. What stresses, and anxieties will he rain down upon these two characters of light?
Most With The Least
You don’t need a hyper-smooth gimbal, crazy anamorphic lenses, or the ultimate camera to produce stellar images. These directors were able to produce these fantastic films on a shoe string budget. Not only do they hold up, but they still produce the same sense of dread, fear, tension, and suspense that they did more than half a century ago. The best can produce the most with the least.