Above, silhouetted figures standingin rigid position become abstracted Modern Manand Woman inthe fi-

nalsequence of The Big Combo. The back-lighting of heavysmoke and an ominously circling lightvisible in
the backgroundfurther abstracts the environment into a modem nether world. Below. direct. undiffused
lighting of Barbara Stanwyckin Double Indemnitycreates a hard-edged. mask-like surface baauty. Bycom-
parison, "hard-boiled" Fred MacMurray seems soft and vulnerable. . . ' .
Some Visual Motifs of Film Noir
Janey Place & Lowell Peterson (1974)
A dark street in the early morning hours, splashed with a sudden
downpour. Lamps form haloes in the murk. In a walk-up room,
filled with the intermittent flashing of a neon sign from across the
street. a man is waiting to murder or be murdered... shadow upon
shadow upon shadow... every shot in glistening low-key, so that
rain always glittered across windows or windscreens like
quicksilver, furs shone with a faint halo, faces were barred deeply
with those shadows that usually symbolized some imprisonment of
body or soul.
Joel Greenberg and Charles Higham.
Hollywoodin the Forties
Nearly every attempt to define film nair has agreed that visual style is the
consistent thread that unites the very diverse films that together comprise this
phenomenon. Indeed, no pat political or sociological explanations-"postwar
disillusionment," "fear of the bomb," "modern a1ienation"--can coalesce in a
satisfactory way such disparate yet essential film nair as Double Indemnity, Laura, In
a Lonely Place. The Big Combo and Kiss Me Deadly. The characteristic film noir
moods of claustrophobia, paranoia, despair, and nihilism constitute a world view
that is expressed not through the films' terse, elliptical dialogue, nor through their
confusing, often insoluble plots, but ultimately through their remarkable style.
But how can we discuss style? Without the films before us it is difficult to iso-
late the elements of the noir visual style and examine how they operate. Further-
more, while film critics and students would like to speak of the shots and the
images, we often lack a language for communicating these visual ideas. This article
is an attempt to employ in a critical context the technical terminology commonly
used for fifty years by Hollywood directors and cameramen, in the hope that it
might be a good step toward the implementation of such a critical language. The
article is not meant to be either exhaustive or exacting. It is merely a discussion-
with actual frame enlargements from the films-of some of the visual motifs of.
the film nair style: why they are used, how they work, and what we can call them.
65
66 FILM NOIR READER
The "Noir" Photographic Style: Antitraditional Lighting and
Camera
In order to photograph a character in a.simple, basic lightingset-up, three dif-
ferent kinds of light, called by some cinematographers the "key light," "fi ll light,"
and "back light," are required . The key light is the primary source of illumination,
directed on the character usually from high and to one side of the camera. The
key is generally a hard direct light that produces sharply defined shadows . The fill
light, placed near the camera, is a soft, diffused or indirect light that "fills in" the
shadows created by the key. Finally, the back light is a direct light shining on the
actor from behind, which adds interesting highlights and which has the effect of
givinghim form by differentiatinghim from the background.
The dominant lighting technique which had evolved by the early Forties is
"high-key lighting," in which the ratio of key light to fill light is small. Thus the in-
tensity of the fill is great enough to soften the harsh shadows created by the key.
This gives what was considered to be an impression of reality, in which the char-
acter's face is attractively modeled , but without exaggerated or unnatural areas of
darkness . Nair lighting is "low-key." The ratio of key to fill light is great, creating
areas of high contrast and rich, black shadows. Unlike the even illumination of
high-key lighting which seeks to displayattractively all areas of the frame, the low-
key nair style opposes light and dark, hidingfaces, rooms, urban landscapes-and,
by extension, motivations and true character-in shadow and darkness which
carry connotations of the mysterious and the unknown.
The harsh lightingof the low-key noir'style was even employed in the photog-
raphy of the lead actresses, whose close-ups are traditionally diffused (by'placing
either spun glass or other diffusion over the key light, or glass diffusion or gauze
over the camera lens itself) in order to show the actress to her best advantage.
Far removed from the feeling of softness and vulnerabilitycreated by these diffu-
sion techniques, the nair heroines were shot in tough, unromantic close-ups of di-
rect, undiffused light, which create a hard, statuesque surface beauty that seems
more seductive but less attainable, at once alluringand impenetrable.
The common and most traditional placement of lights, then and now, is known
as the "three-quarter lighting" set -up', in which the key light is positioned high and
about forty-five degrees to one side in front of the -actor, and the fill is low and
close to the camera Because the attractive, .balanced, harmonious face thus pro-
duced would have been antithetical to the depict ion of the typical nair moods of
paranoia, delirium, and menace, the nair cinematographers placed their key, fill
and back light in every conceivable variation to produce the most striking and off-
beat schemes of light and dark. The elimination of the fill produces areas of total
black. Strange highlights are introduced, often on the faces of the sinister or de-
mented. The key light may be moved behind and to one side of the actor and is
then called the "kick light" Or it can be moved below or high above the charac-
Some Visual Motifsof Film Noir 67
ters to create unnatural shadows and strange facial expressions. The actors may
playa scene totally in shadow, or they may be silhouetted against an illuminated
background.
Above all, it is the constant opposition of areas of light and dark that charac-
terizes film nair cinematography. Small areas of light seem on the verge of being
completely overwhelmed by the darkness that now threatens them from all sides.
Thus faces are shot low-key, interior sets are always dark, with foreboding
shadow patterns facing the walls, and exteriors are shot "night-for-night." Night
scenes previous to film nair were most often shot "day-for-night"; that is, the
scene is photographed in bright daylight, but filters placed over the camera lens,
combined with a restriction of the amount of light entering the camera, create the
illusion of night. Night-for-night-night scenes actually shot at night-required
that artificial light sources be brought in to illuminate each area of light seen in the
frame. The effect produced is one of the highest contrast, the sky rendered jet
black, as opposed to the gray sky of day-for-night. Although night-for-night be-
comes quite a bit more costly and time-consuming to shoot than day-for-night,
nearly every film nair, even of the cheapest "B" variety, used night-for-night exten-
sivelyas an integral component of the nair look.
Another requirement of nair photography was greater "depth of field." It was
essential in many close or medium shots that focus be carried into the background
so that all objects and characters in the frame be in sharp focus, giving equal
weight to each. The world of the film is thus made a closed universe, with each
character seen as just another facet of an unheeding environment that will exist
unchanged long after his death; and the interaction between man and the forces
represented by that no;r environment is always clearly visible. Because of the
characteristics of the camera lens, there are two methods for increasing depth of
field: increasingthe amount of light-enteringthe lens, or usinga lens of wider focal
length. Obviously, because of the low light levels involved in the shooting of low-
key and night-for-night photography, wide-angle lenses were used in order to ob-
tain the additional depth of field required .
Beside their effect on depth of field, wide-angle lenses have certain distorting
characteristics which, as noit photography developed , began to be used expres-
sively. As faces or objects come closer to the wide lens they tend to bulge out-
ward . (The first shot of Quinlan in Touch of Evil is an extreme example .) This
effect is.often used in nair films on close-ups of porcine gangsters or politicians, or
to intensifythe look of terror on the hero's face as the forces of fate close in upon
him. These lenses also create the converse of the well-known "endistancing ef-
fects" of the long, telephoto lenses: wide-angle has the effect of drawing the
viewer into the picture, of including him in the world of the film and thus render-
ing emotional or dramatic events more immediate.
68
69
FILM NOIR READER
The "Nair" Directorial Style: Antitraditional Mise-en-scene
Complementary to the nair photographic style among the better-directed films
is a mise-en-scene designed to unsettle, jar, and disorient the viewer in correlation
with the disorientation felt by the nair heroes . In particular, compositional balance
within the frame is often disruptive and unnerving. Those traditionally harmonious
triangular three-shots and balanced two-shots, which are borrowed from the
compositional principles of Renaissance painting, are seldom seen in the better
film nair. More common are bizarre, off-angle compositions of figures placed ir-
regularly in the frame, which create a world that is never stable or safe, that is al-
ways threatening to change drastically and unexpectedly. Claustrophobic framing
devices such as doors, windows, stairways, metal bed frames, or simply shadows
separate the character from other characters, from his world, or from his own
emotions. And objects seem to push their way into the foreground of the frame
to assume more power than the people.
Often, objects in the frame take on an assumed importance simply because
they act to determine a stable composition. Framed portraits and mirror reflec-
tions, beyond their symbolic representations of fragmented ego or idealized im-
age, sometimes assume ominous and foreboding qualities solely because they are
so compositionally prominent. It is common for a character to form constant bal-
anced two-shots of himself and his own mirror reflection or shadow. Such com-
positions, though superficially balanced, begin to lose their stabilityin the course
of the film as the symbolic Doppelganger either is shown to lack its apparent sub-
stantiality or else proves to be a dorri'inant and destructive alter ego. ,Similarly,
those omnipresent framed portraits of women seem to confine the safe, power-
less aspects of feminine sexuality with which the noir heroes invariablyfall in love.
But in the course of the film, as the forces mirrored in the painting come closer to
more sinister flesh and blood, the compositions that have depended on the rec-
.tangular portrait for balance topple into chaos, the silently omniscient framed face
becoming a mocking reminder of the threat of the real women.
In the use of "screen size," too, the noi; directors use unsettling variations on
the traditional close-up, medium and long shots . Establishing long shots of a new
locale are often withheld, providing the viewer with no means of spatial orienta-
tion. Choker close-ups, framing the head or chin,; are obtrusive and disturbing.
These are sometimes used on the menacing heavy, other times reserved to show
the couple-on-the-run whose intimacy is threatened or invaded. The archetypal
nair shot is probably the extreme high-angle long shot, an oppressive and fatalistic
angle that looks down on its helpless victim to make it look like a rat in a maze.
Nair cutting often opposes such extreme changes in angle and screen size to cre-
ate jarring juxtapositions, as with the oft-used cut from huge close-up to high-an-
gie long shot of a man being pursued through the dark city streets.
Some Visual Motifsof Film Noir
Camera movements are used sparingly in most nair films, perhaps because of
the great expense necessary to mount an elaborate tracking or boom shot, or
perhaps simply because the nair directors would rather cut for effect from a
close-up to a long shot than bridge that distance smoothly and less immediately by
booming. What moving shots that were made seem to have been carefully con-
sidered and often tied very directly to the emotions of the characters. Typical is
the shot in which the camera tracks backward before a running man, at once in-
volving the audience in the movement and excitement of the chase, recording the
terror on the character's face, and looking over his shoulder at the forces, visible
or not, which are pursuing him. The cameras of Lang, Ray, and Preminger often
make short tracking movements which are hardly perceptible, yet which subtly
undennine a stable composition, or which slightly emphasize a character to
whom we then give greater notice.
The "dark mirror" of film nair creates a visually unstable environment in which
no character has a firm moral base from which he can confidently operate. All at-
tempts to find safety or security are undercut by the antitraditional cinematogra-
phy and mise-en-scene. Right and wrong become relative, subject to the same
distortions and disruptions created in the lighting and camera work. Moral values,
like identities that pass in and out of shadow, are constantly shifting and must be
redefined at every turn. And in the most notable examples of film nair, as the nar-
rat ives drift headlong into confusion and irrelevance, each character's precarious
relationship to the world, the people who inhabit it, and to himself and his own
emotions, becomes a function of visual style.
Below, the "normalcy" of this typical couple in love in Beyond a Reasonable Doubt is un-
dercut by their unsettling positions in an unbalanced frame.
71
The Big Heat: Above left, high-key lighting to convey normalcy, the everyday,
Glenn Ford's bourgeois wife. Above right, low-key lightingof a dame who inhabits
the "other world ." Shadow areas hint at the hidden, the unknown, the sinister .
Below, Bogart finally realizes it is Lupino he loves in High Sierra. The low-placed
key light creates a stark lighting in which interior feelings of the characters are
finally exposed and laid bare .
Below left, hard direct lightingon an unmade-up face creates an unpretty close-up
of a bitter and cynical Cathy O 'Donnell at the beginning of They Uve by Night.
Below right, the same actress in softer light shot through a heavy diffusion filter
over the camera lens. The sense of intimacy is further conveyed through use of
choker close-up .
Some Visua l Motifs of Fil m Noi r
Left, a strange high-light under Bogart's
eyes injects a sinister, demented quality
into his mock description of his part in the
murder in In a Lonely Place.
Right, Barbara Stanwyck under the rich;
black sky of a night-for-night shot in Double
Indemnity. Each illuminated area in the shot
required that an artificial light source be
brought in.
Below, one of the very few traditionally
balanced two-shots of these two
characters in all of In a Lonely Place . Bogart
and Grahame experience a rare moment of
safety and security. This shot cuts to this
upsetting two-shot at right as the
policeman who has been trailing the couple
. walks into the bar. Two characters each in
tight close-up convey intimacy being
invaded.
73
Above, Night and the City: left, bold, architectural lines carried in sharp focus over
the large depth of field of a wide-angle lens minimize Richard Widmark's
compositional importance. Right, as the night-club owner makes the decision to
"get Harry," this low, wide-angle close-up distorts his already grotesquely fat face.
Strong cross-light from the right throws unusual shadows on the left side of his
face, carrying connotations of the sinister and evil. .
Left, Dana
Andrews
framed behind
a cabinet in
Laura. The
powerful
foreground
objects seem
at once
constricting
and symbolic
of a precarious
situation which
threatens at
any moment to
shatter to the
floor .
Below, extreme framing devices : left, differences in lighting and screen size, and
action played on different planes in depth separate a man and woman in Night and
the City. Right: lonely characters isolated by framing devices in a composition of
constricting vertical and hor izontal lines manage to bridge the distance between
them with a dramatic diagonal of exchanged glances from In a Lone/yPlace.
Some Visual Motifs of Film Noi r
Above, a low-angle shot expresses the
menace of Grahame's Lesbian masseuse in
In a Lonely Place.
Top right and right, a short track- in to
close two-shot expresses the fear and
claustrophobia felt by Grahame in In a
Lonely Place .
The Big Heat : right, Ford and Gloria
Grahame are linked in space by the
shadow area on the wall, which creates a
bridge between their looks. Below,
kick-lighting of the first shot of Lee Marvin
immediately establishes him as a heavy
threatening to erupt into violence. The
restriction of depth of field and the turn ing
of his head towards the camera give his
figure power and control of the frame
Above left, a choker (extreme) close-up emphasizes the grotesque face of
Howard da Silvain his last scene in They Uve by Night . Right, an extreme close-up
of Bogart'S eyes, framed by the isolating darkness of night and the city in the
credits of In a Lonely Place .
Below, Edmond O'Brien 's shadow in The Killers suggests an alter ego, a darker
self who cohabits that frame's space. This and the frame enlargement at bottom
page left are actually "two-shots" of only one character.
Below left, the many mirror reflections of Gloria Grahame in The Big Heat suggest
her "other side" which dur ing the course of the film is revealed. Righi:, isolated by
labyrinth staircases in an extreme high-angle long shot from Kiss Me Deadly.
Above, an ominous portrait, emphasized by its dominant compositional function
in making a balanced two-shot, stares out over the proceedings of Woman in the
Window . The constant mirror reflections of Joan Bennett and the other characters
subtly hint at their alter egos, revealed at the end of the film when the protagonist
wakes up to discover it was all a dream . Below, two policemen form a dark,
vertical mass not counterbalanced by the smaller, lighter horizontal figure of the
punk hoodlum upon whom they are about to administer the third degree in On
Dangerous Ground. The cops' downward looks, the position of their bodies, and
the line of the bed frame create a heavy top-left to bottom-right diagonal in a
precarious and unbalanced composition.