Obsession And Desire In Film Noir

Obsession And Desire In Film Noir

What makes a very good film noir romance? And how is it different from, say, a romantic comedy or romantic drama?

A romance in any genre surely will need to have loads of hassle and problems to create enough tension to captivate audiences.

The distinction in basic film noir lies partially within the universe which the characters inhabit. Whether it is a seedy dive bar, a stuffy New York condo, or a flowery house on Russian Hill, the noir ambiance pervades.

But film noir lovers are different too. They're not just schmucks in love attempting to make it work.

Instead, our protagonist is normally overcome with an obsessive and/or fatalistic desire. And, it's often the male (except in Joan Crawford movies), who is the one haunted and driven.

And that is why the femme fatale is so prevalent in noir. She may be consciously or unconsciously seducing him into her internet for her personal desperate needs or she may be merely using him to additional her own position in an underneathground world of crime. She typically "belongs" to some more powerful, even evil kingpin.

Drawback is, she often falls for the very guy she set out to use and then the two of them are really in trouble. So, either she follows her heart and goes with the ever-struggling protagonist, thus incurring some type of mortal or authorized danger for each of them, or she nobly sacrifices her personal happiness to save lots of her beloved.

Either means, it usually does not finish well. But oh, how we love figuring out with these fierce passions run amuck.

Different variations of the basic film noir love triangle involve a real candy lady or wife, our male protagonist and the femme fatale.

One other common attribute of film noir lovers is that our main guy knows he is happening, but just can't help himself. One or each of the lovers could also be headed towards self-destruction, but feels powerless or lacks the desire to cease it.

Why are we so fascinated with film noir romances? Perhaps it is the irresistible fatalism these characters are caught up in, where the delicate promise of desire consummated is supplanted by an interior torment taken to the nth degree.

And for our voyeuristic pleasure, listed here are five examples of some favourite doomed-from-the-begin film noir amorous affairs:

1. Johnny (Glenn Ford) and Gilda (Rita Hayworth) in "Gilda" (1946). The pain is palpable in this complicated love triangle. Johnny's best good friend and boss is Ballin (George MacCready), a man whose new bride happens to be Johnny's ex flame. He can't bear the best way she treats his buddy, however can also be plagued by his personal rekindled attraction to her and vice versa.

2. Mae Doyle (Barbara Stanwyk) and Earl (Robert Ryan) in "Clash By Night" (1952). Mae Doyle tires of her new good- man husband and goes after his dark and moody pal Earl. They embark on a torrid, unhappy affair.

3. Mark (Dana Andrews) and Laura (Gene Tierney) in "Laura" (1944). Quietly intense detective Mark McPherson falls hard for the beautiful girl in a portrait who's supposedly dead. His obsession grows as he investigates her things and the men in her life.

4. Helen (Claire Trevor) and Sam (Lawrence Tierney) in "Born to Kill" (1947). He's a killer and she knows it, but Helen and Sam are fiercely attracted. She tries to keep away from him since she's already engaged, so he goes after her rich sister instead. This only incites their passion and things get lethal.

5. Jeff (Glenn Ford once more) and Vicki (Gloria Graham) in "Human Need" (1954). Jeff's the great-guy train engineer who gets sucked into murder and mayhem by the irrepressible Vicki, whose husband Carl (Broderick Crawford) is obsessed with jealousy and suspicion.

As these films illustrate, a film noir "romance" isn't a just a candy love affair which occurs to be set in a dark alley. Fairly, it is often a desperate attraction between in any other case alienated souls who discover a rare kinship in one another. However resulting from circumstances of their noir universe (whether or not exterior or internal), it seems their union can solely lead to destruction, whether or not to themselves or to others.

Il Comitato Processione Venerdì Santo

ringrazia la famiglia Aviani e la famiglia Centoscudi, per la disponibilità dei terreni senza i quali la Sacra Rappresentazione non sarebbe così suggestiva.
Un ringraziamento allo Studio GSG di Bagnoregio e a Mario Mecarelli per le fotografie utilizzate.
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