Killer’s Kiss was quite interesting. The film revolves around Davey Gordon (Jamie Smith), a 29 year old welterweight New York boxer in the end of his career, and his relationship with a dancer and her violent employer. The essence of Noir is presented exceptionally well in this film given the different camera angles and lighting effects. Having some minor experience with Noir Visuals this week, I’d say I know what I’m talking about. Killer’s Kiss was my favorite of the titles we were given the option to choose from for this week. Although Chinatown was pretty good also (I get into movies easily by the way), this film really captured Noir when it was in its glory days. The early days of film noir, to me, are the glory days indeed.
This scene from the movie Chinatown perfectly captures what you would think as Noir in Chinatown. The shadowy woman with the umbrella really captures the eye. Also, the distinctive lighting on the buildings down this particular street. Chinatown concerns a private detective, Jake Gittes, hired to investigate an adultery case. He stumbles on the murder involving incest and the privatization of water through municipal corruption, land use and real estate. If he doesn’t drop the case at once he faces threats of legal action, but he pursues it anyway, slowly uncovering a vast conspiracy.
The directors from the twentieth century, primarily the mid-twentieth century, really knew how to capture Noir in its greatest form: Film Noir. They used distinctive lighting techniques, shadowy, yet interesting characters and suspenseful crime cases to develop a dark and steamy plot that kept the viewer loving every minute of the picture. Even up and to today’s film viewers, like myself and my wife, who never watch a film such as this, can find a love for such a genre. Really looking forward to getting into more Noir pieces as we move forward!