Schrader notes that, “compositional tension is preferred to physical action” (586). Instead of giving the actor control of the scene by means of physical action, the scene is moved cinematographically around the actor. Near the beginning of Marshall’s film when the three men are having drinks, one of the characters, Buzz, becomes increasingly irritated by the “monkey music” being played by another patron. The audience becomes increasingly aware of his growing frustration and discomfort as the camera zooms in on his clenched face. He stares straight ahead, eyes wide; his face fills the entire frame to the point of claustrophobia. The actor has not moved from his seat, and has not spoken another word during this anxious moment. It is the composition, framing, and invasive close-up, which communicate this tension felt by the character. This cinematographic technique is utilized to visually reflect the emotional depths of a character, to display sociological or psychological issues cinematically.
Secondly, in The Blue Dahlia, as in many films noirs, “rainfall tends to increase in direct proportion to the drama” (Schrader, 586). Upon Johnny Morrison’s discovery of his wife’s new attitudes on life, and the true story of his son’s death, he storms out on her. It is now dark outside (it was bright when he had first arrived), and it is raining heavily. As Schrader points out, the rain reflects the increase in drama, and in this particular scene, it symbolizes Morrison’s state of mind as he has just realized that he has not only lost his son, he has also lost his wife, and it was her who had caused his son’s untimely death.
Furthermore, Schrader argues that unlike the lighting of the thirties, in film noir, “the central character is likely to be standing in the shadow” (586). He explains the significance of lighting and shadow in the filmed environment in comparison to the actor, and that this key noir element has the ability to create “a fatalistic, hopeless mood” (586). In Marshall’s film, certain characters are filmed in certain lighting, while other characters are hiding in the shadows. When the audience is first introduced to the blonde woman (played by Veronica Lake), who we later learn to be Mrs. Harwood, she is driving. It is late, it is dark, it is raining, and the windshield wipers are on, slashing through her wet, distorted face. However, prior to this scene we have seen her photograph on display in Eddie Harwood’s office and home. The picture is glamorous and angelic. During the rest of the film she is filmed in full light, and apart from her relation to Harwood, there are not any further indications that she may be involved with Mrs. Morrison’s death. The older man who works at the hotel where Mrs. Morrison was killed, is introduced when he checks in to make sure everything is alright, suggesting to Johnny that he should close the blinds if he’s going to be pushing his wife around. He seems to be a helpful, honest character. Meanwhile, it is this man who is always sneaking around spying, standing in the dark rain under his black umbrella, blackmailing other suspects, and so on. He turns out to be the murderer, and in hindsight, it is obvious all along, when considering the use of light and shadow in relation to his character.
Paul Schrader begins to examine some of the stylistic techniques that frequently appear within the film noir subgenre. His analyses of the symbolic functioning of each technique wrung true in relation to George Marshall’s The Blue Dahlia. Stylized symbolic visuals depict the mood and inner emotions of the film’s characters, and they are also used to reinforce the mood and tone of the film in its entirety.
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