Most classical film noirs dated between 1940’s and late 1950’s are rated between a PG and ages 12, whereas modern day film-noirs are mostly rated between 12 and 18.
A film that is rated 12 is allowed no strong references to drugs, discrimination or gory violence is allowed. A small amount of horror, dangerous behaviour, strong language, nudity, sex and mature violent themes are allowed, as long as they are not glamorised or do not act influential on the audience.
A film that is rated 15 is allowed discriminating behaviour if it does not endorse discriminating behaviour or language. Drugs and dangerous behaviour is acceptable, however easily accessible objects cannot be glamorised. Strong language, nudity, sex, these and violence are accepted if the storyline does not dwell around these topics strongly.
A 18 rated film is the highest general film rating, therefore most topics and storylines are acceptable at this rating.
For our film-noir project we have decided to create a rated 15 film, as most characteristics of a film are accepted. Furthermore our opening sequence project will not have a strong reference to any topics which could change the rating to an 18.
The term ‘Film Noir’ was initially used by the French film critic; Nino Frank in 1946. He created this coinage in order to describe the repeating themes of a film noir such as dark storylines, crime, alcohol, illegal businesses, murders and detectives. Between the 1940’s and the late 1950’s is the time where most classical film noirs were released. However it is suggested that crime films before the Second World War such as Fury (1936) and You Only Live Once (1937) contributed to the cynical attitude which is now a well known characteristic of a film noir. The negative attitude of these crime films resulted in the reoccurring features that became more predominant once the Second World War ended; more downbeat films were made in America such as; The Maltese Falcon (1941), Murder, My Sweet (1944) and Double Indemnity (1944).
The highest rated film noir according to the Internet Movie Database is Sunset Boulevard, which was released in 1950.
For the next task we need to analyse an opening of a Film-noir, i chosen to analyse the opening sequence of 'Se7en'.
This is the link to the sequence that i analysed from the start of the opening until 4 minutes and 9 seconds.
As the scene opens we see that a smart man is getting ready in his home, as the camera follows him we see him tie his tie through a mirror shot, which is a typical component of a typical film noir. As Somerset continues to get dressed, the audience is given small details about his character such as his smartness and tidiness by the way the objects he needs to take to work are neatly lined up, and due to how he picks fluff off his suit jacket before putting it on. There is ambient noise from the street, including traffic noise which is suggestive that this film is set in an urban area such as a city, which is reflective of the complexity of the film's story line.
The scene then cuts to a dimly lit room where the camera tilts from the bottom of the dead body upwards to reveal the full body on the floor. A detective describes how the murder happened asynchronously as the camera does not focus on him while he speaks which could represent how the theory
he has thought of is unimportant to Somerset, due to the way he questions where the child was, while the other
detectives seem to be uninterested in this. This could mirror how Somerset could easily be associated with a typical
film noir hero, whereas the other police seem morally questionable.
The new detective; Mills enters the scene looking vulnerable and lost, he also contrasts with Somerset as he is
wearing a leather jacket and a casually tied tie, whereas Somerset is wearing a hat and a smartly pressed suit.
The camera tracks the two characters outside, the setting is a dismal street with bins and rubbish bags visible, it is
also raining which correlates with typical icons in a classical film noir, other classic film noir characteristics present are the
dim lighting, even though the time is outside in the day,the theme remains to be pessimistic and hopeless.
Somerset suggests going to a bar for a drink which is a typical label of a crime detective, however Mills declines
this invitation which suggests that he also cares about the truth in crimes.
The scene then finally cuts to Somerset sitting in his bed at home, the scene uses low key lighting as the frame zooms
into his face to reveal his exposed emotions, as the ticking pendulum in his room ticks to iconise suspense.
I currently study Fashion Journalism at the university of Sunderland. I love blogging about beauty products, fashion and nails. I hope to work within the magazine or beauty industry.
