Conflicts of the Film Noir

The time is the post valet de chambre War II period, and the scene is a shadow-filled, dark, sinister looking London, often viewed at odd camera angles that present a feeling of menace. The city almost seems like a source itself. And in a sense it is. Harry Fabian has grapple to London from the United States to make it big. In American he was a petty crook, engaged in scams that did not pick out in the big m maviny he longed for. He wants to be somebody, and "to live a life of ease and comfort," as he tells his sweet, nightclub singer girlfriend Mary (Gene Tierney), a char fair sex with whom he is in love with, but a woman he has no scruples stealing from. He finds himself inhabiting a grim, material world where money is more important than morals, and where he will never fit despite all his apparent motions, shrewd and manipulative efforts. The other man in Mary's life, a mass medium painter Adam Dunn (Hugh Marlowe), sums up Fabian plight in truth well: "Harry's an artist without an art?groping for the means with which to gestate himself."

Desperate for money, Fabian comes up with a plan that he hopes will make him the pass along wrestling promoter in London. The wrestling scene is depicted as gritty and violent, farthermost different from the staged matches shown on contemporary television. His scheme comes to him when he meets Gregorius (Stanislaus Zbyszko), a powerful, famous, retired Greek wrestler who he persuades to become his partner. He decides to arouse control of professional wrestling which is run by

The brutality of the fight is more than an challenge sequence. The direction and camera angles show a grotesque position of male violence, and the content of the scene is visual, not verbal, portraying evil, fear, traitorousness and death. The scene also sets another sequence into action, the film's final one in which Fabian is literally hunted down and killed.

after(prenominal) Gregorius dies, reward money is offered for Fabian's demise. Just about everyone in London's perdition goes after the reward, and the ending sequences are filled with the presence of desperation and isolation and brutality so common to the film noir genre.

Schrader, Paul. "Notes on Film Noir," Film Comment (Spring 1972).

a head gangster of the underworld who is also Gregorius' son, Kristo (Herbert Lom). He cons money out of his tribal chief Phil (Francis L. Sullivan) and Phil's wife Helen (Googie Withers). Many complications set in to ensure that Fabian's get rich scheme will never be realized. When Phil plots with Kristo to defile Harry's scheme, Harry comes up with Plan B. He goads the Strangler (Mike Mazurki) who is Kristo's top wrestler and Gregorius' protTgTe Nikolas into a fight. When Nikolas' wrist is broken, Gregorius replaces him in the fight, and defeats Strangler. But the effort causes him his life, and he dies of a stroke after the fight.

Dassin, Jules, Dir. Night and the City. 20th Century Fox, 1950.

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