Race, Sexuality, and Violence Surface in the Subversive Neo-Noir "Devil in a Blue Dress"

Carl Franklin’s neo-noir Devil in a Blue Dress (1995) brings to the screen a number of things that were suppressed or ignored by classic noir, including race, sexuality, and violence, ultimately meaning that this film is subversive in other ways than classic noir films. The protagonist is a morally stable, intelligent, black man. The film tackles issues of interracial sex, ruthless politics and power, police corruption, and familial corruption.

The film is set in 1948 Los Angeles. Ezekiel Rawlins also known as, Easy, is a World War II vet and has just recently lost his job unfairly. He is a property owner and takes pride in his achievements. The majority of the cast consists of African Americans, with only a couple important white characters. The film flopped at the box office but is renowned critically. Its poor box office results may be in part because of the predominantly black cast, and the assumption that the film is a ‘black film’ for black audiences. Also, the majority of the cast lacked star power, as many of the actors were fairly new to the Hollywood scene, including Tom Sizemore. Jennifer Beal’s screen time was minimal. The film also didn’t have a “big pay off” audiences were expecting during the neo-noir movement like we see in Chinatown, while others preferred the bittersweet ending. Furthermore, there has been discussion concerning the lack of a love narrative between Easy and Daphne. However, others believe the avoidance of this Hollywood cliché betters the film. Some criticisms of the film concern the narrative itself, and Denzel Washington’s character in particular. He does not learn anything new throughout the course of the film. He does not have any distractions or weaknesses which conflict with his determination of completing his assigned job, apart from the isolated sexual encounter with Corretta who prematurely dies early on in the film. Even so, Easy and Corretta discuss her friend Daphne while they are engaging in sexual acts. It is hardly an interference or disruption of the progression of his investigation.

            Regardless of the poor box office results and the various criticisms of the film, it is without a doubt an alternative perspective of the 1940s film noir as the protagonist is a black male working to restore the equilibrium of the world of white politics. Easy is intelligent and confident, which would have never been a depiction of a black man in classic noir. Furthermore, his character is morally stable, which is a departure from the classic noir hero, as they are usually confronted with issues of greed, selfishness, corruption, sexual distraction, and ulterior motives.

            What is most interesting about this film, apart from the black perspective, is the reversal of conventional race depictions, in the sense that the protagonist and supportive characters are black (or bi-racial in the case of Daphne), and the corrupt, twisted characters are the white characters, including the crooked politicians, DeWitt, and the police. It is a backward film noir, but in a believable, justified, convincing way. Perhaps this alternative narrative approach is a contributor to the mixed reception, as some viewers praise its contrasted perspective, and others question it. 

1970's Neo-Noir and Polanski's "Chinatown"

                The beginning of the cycle of classic film noir in America arose in reaction to World War II, or the Depression according to some contemporary scholars. Polanski’s 1974 film Chinatown and the rise of the 1970’s neo-noir, like the arrival of classic film noir in the 1940s, are in reaction to many historical, cultural, and social factors. During the 1970s, social progressive values are shifting, political awareness increasing, political and economic liberty for women, hippie culture, opposition to the Vietnam War, opposition to nuclear weapons, the advocacy of world peace, and hostility to the authority of government and big business. Among these factors, we must consider the rise of capitalism and the increasingly overwhelming, all-encompassing monopolies, and the impenetrable class system, which is very clearly depicted in Chinatown.

The distrust felt by the middle and lower classes toward the police and the government once again surfaces, as the monopolistic elites control everyone and everything, including the police and the war. They are above the law, and the law rules in their favour, no matter what the cost. Society can no longer trust in or rely on its police force and governing authorities, the system, their “protectors”. The collective feelings of isolation and alienation return, similar to the period of the classic noir. Society is once again unbalanced, with the rich, powerful, corrupt, tyrannical, monopolistic superpowers on top.

            In Chinatown, when Jake Gittes (Jack Nicholson) confronts Noah Cross (John Huston) about Horris Mulwray’s murder, on the account of his glasses being found in the salt-water pond, Noah admits that he did it. He puts all of the pieces together for Gittes, admitting to being behind the whole thing. Gittes briefly thinks he has got Noah, he’s going to take him to the police, turn him in, put an end to this mess. Noah quickly demonstrates that that is not the way things are going to play out, as one of his men approaches with an outstretched gun pointed in Gittes’ direction. Gittes asks how much Noah is worth, curious as to why he would go to these lengths if he already has well over ten million dollars. Noah and his colleagues are going to expand the city, take over, its “the future!” he shouts.

The audience and the few trusting characters in the film are lead to believe the police are investigating the death of Horris Mulwray, paralleling the independent investigation conducted by Gittes. Meanwhile, the police are in on the scheme, working under Noah Cross. “He’s rich! He can get away with anything! He owns the police!” Mrs. Mulwray (Faye Dunaway), Noah's own daughter, screams as she runs for her life. Those were her last words before she was shot dead by the police on her father’s command. Jake Gittes is stunned, shocked, in disbelief. America does not have the comfort of security, safety, justice, or peace. 

The Film Noir Cycle and its Final Installment

             Film noir developed in reaction to World War II and/or the Depression, but what was responsible for marking the end of the movement? Why did it come to a screeching halt after all of its successes? Stephen Armstrong argues that the subgenre’s ending was in reaction to a sociological change in regard to technological advances, anti-communist obsession, and the fall of politician McCarthy. Meanwhile J.P Telotte asserts that a shift in cultural anxieties is responsible for the extinction of the film noir, concerning the bomb, the nuclear holocaust, and the failure of our communication. Michael Grost analyzes the 1955 film Kiss Me Deadly which was released at the end of the noir cycle, discussing innovative techniques used in the film that set it apart from the other noirs that came before it. He attributes the end of the noir cycle to the social commentary the films communicate to audiences: the corrupt individuals who lack any real ability, virtue or accomplishment, rise to the top. Aldrich, director of Kiss Me Deadly, completely deglamorizes them. Like the arrival of the phenomenon later referred to as film noir, the end of the film noir cycle and its final installment Aldrich’s Kiss Me Deadly, are in reaction to many cultural and social factors including social change (the need to talk, the “post-post-war disillusionment”, and national unity), technological advances (the spread of television and nuclear warfare), and ultimately a shift from the cynicism and negativity during the noir era to a necessary “confidence about the present and optimism for the future” (Armstrong).

The Use of Frame Story and Flashback in Noir

In Mate’s 1950 film D.O.A. the frame story and flashback narrative structure work to reinforce the moral and philosophical message of the film. The film would not have been nearly as effective with a linear narrative. It is such a bizarre and suspenseful conversation as it is unclear what Frank Bigelow means when he, himself, claims to have already been murdered. The frame story and flashback narrative structure allow the audience to watch as his character shifts from being inconsiderate and depressed when he is healthy, to the loving, driven man after finding out he has only a few days left to live. This ironic twist of fate and reflective narrative structure reinforce the moral and philosophical message of the film which is along the lines of: be honest and respectful to yourself and those around you, “you never know what you’ve got til’ its gone”, “love the one you’re with”,  or “live life to the fullest”.

 First the audience is introduced to the determined Frank, who enters the homicide office claiming to be dead, and when he begins to tell his story and the flashback sequence is cued, the audience goes back in time and is then presented with the unhappy and unappreciative Frank who neglects his girlfriend, and takes everything he has for granted. Next we are shown a slightly better version of Frank when he reads the note from Paula and then rips up the other woman’s number. Soon Frank becomes hysterical as he goes from doctor to doctor, desperately hoping to come across more hopeful examination results. Finally, when the odds are against him, the audience (and Paula) is offered a new, appreciative Frank Bigelow who is determined to unravel his mysterious murder. He realizes he hasn’t much time left, and he quickly has regrets regarding his outlook on life. 

This frame story works because it gets the audience interested right away, and we are increasingly curious as the flashback narrative unfolds. The moral or philosophical message of the film concerns Frank Bigelow, and the fact that he repeatedly states that he did not do anything wrong, and all that he did do was approve a bill of sale. He was just doing his job. It was not until Bigelow was confronted with his own murder that he began to appreciate and value the life he already had. Prior to the unsettling news from the doctors, Bigelow was unhappy, and in a state of disappointment. He decides to go on a trip on his own, and does not care to relay this to Paula, the woman he is seeing. The moral and philosophical message of this postwar American film noir is that you should not take what you have for granted, you should cherish what you have, and you should not wish for anything more. Or else you will be punished like Frank Bigelow. 

Innocent Women Plead Guilty, Guilty Men Plead Innocent

            Fritz Lang’s 1953 film The Blue Gardenia presents a female protagonist. The themes and concerns addressed in the film differ from other male-driven noirs. The audience is exposed to women in the workplace, female friendships, and a faithful woman who is waiting patiently for her boyfriend to return from Korea. Furthermore, the audience is aligned with a mystery murderess who the male reporters, police officers, and detectives are having trouble finding.

Norah and Crystal work as telephone operators, and they work with many other women. Some of these women have boyfriends, some are single, but none of the women are married. Not only are the telephone operators all female, but also the public relations representative who assists the police with their investigation at Norah’s workplace is a woman. These women enjoy their work and are able to live with friends, or on their own, without the support of a man. They have an independence unlike other noirs with male-driven narratives.

Mirroring the American Mood

Paul Schrader points out seven common stylistic techniques found in film noir. The visual style embodied in this specific period of film history is reflective of the postwar American mood. The characters and themes are often depicted visually following highly stylized techniques and motifs, while the narrative content and narrative structure also work to portray this overarching mood. George Marshall’s 1946 The Blue Dahlia offers fruitful examples of some of the techniques outlined by Schrader, including the compositional tension, the dramatic water/rainfall, and lighting.

                     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.

Modernism and Blood Melodrama

Modernism challenged dominant values, the economy, mass culture/culture industry, and industrialized dehumanization. Film noir emerged as a result of the collective unconscious in the wake of World War II, questioning the class system, authority, and morality. Therefore, the ideologies of modernism are ingrained in the film noir subgenre, reflecting the shift in the collective mood following the war and the depression. This is demonstrated in Billy Wilder’s 1944 Double Indemnity through its morally complex characters, the control of point of view, and the film’s grim critique of American modernity.

James Naremore explains that, like modernism, many early films noirs are characterized by “urban landscapes, subjective narration, nonlinear plots, hard-boiled poetry, and misogynistic eroticism” (45), including Double Indemnity. The film is set in both the suburban centrifuge of Los Angeles and it’s downtown centripetal core. The film’s protagonist, Walter Neff, provides the subjective narration. He is recording a confessional retelling of events, which serves as a frame narrative. The story unfolds to spectators as a series of flashbacks, until we are caught up to speed and brought back to present time.