Analysis: Blue Velvet

Analysis: Blue Velvet 

'Blue Velvet' is widely considered one the best neo-noir films ever made. It keeps with the idea of a noir film being revolutionary for its time, in terms of how dark it is tonally and thematically. 

The opening credits definitely have the traditional noir feel. The opening score has the jazz-like film noir sound, and the titles themselves feature stylised writing. The background is, however, much different. We see actual blue velvet swaying as opposed to something plain, like in the majority of noirs. The film itself opens with the song 'Blue Velvet' by Bobby Vinton, and the first image we see is of a classic white picket fence. Both of which really give the film a 1950s feel. Along with the white picket fence, we see a pure blue sky and red roses. This is essentially mimicking the high contrast black and white, seen in early film noir, with an explosion of multiple colours. This has been done as it is the only way to create that contrast while trying to modernise it. 

A colourful environment has been created to make 'Blue Velvet' initially appear lighter in tone. The next few shots are further evidence of this. We see a fireman waving as he enters and exits the frame, more colourful flowers, and children being happily guided across the road. However, everything abruptly changes as we see a woman watching a black and white film on TV, while the only image we can see of it features a gun. This then leads into the freak accident taking place outside the house. A man is watering his garden, while shots of the hose getting stuck and breaking are shown. The man then suddenly has a heart attack, while a dog aggressively tries to get at the hose. An innocent baby, dressed in all white, looks on, before we are taken underneath the garden to reveal insects eating and fighting, almost in pitch black. This is supposed to highlight, early on, the true nature and reality of the world we live in, so the darkness we see in film noir may not be that far-fetched. We then see shots of the entire town, possibly implying that its true nature and darkness will be revealed next. 

Analysis: Chinatown

Analysis: Chinatown

'Chinatown' was one of the first films to be labelled a 'neo-noir' film. The film is set in 1940s Los Angeles with Jack Nicholson playing a Bogart-like private detective. Excluding European cinema, film noir had been dead in Hollywood for about 15 years, so this was the return of the genre (if you don't include the satirical neo-noir 'The Long Goodbye' from the year prior).

As the opening credits begin we can easily gather that this film is going for the traditional and classic, Hollywood noir feel. The artwork and background of the credits alone would not look out of  place in the '40s or '50s. The opening score of the film also has the stereotypical jazz sound that can be heard in almost every early noir film. From the credits we can also see that this film stars legendary filmmaker John Huston, who directed the first major Hollywood noir picture, 'The Maltese Falcon'.

The first image of the film we see after the credits is that of a group of photos depicting a married woman having an affair. The pictures have been taken by Nicholson's private detective character. This immediately lets the audience know that this film will be nothing like its far tamer 1940s counterparts. The film's opening setting is that of a private detective's office, just like in many other noirs like 'The Maltese Falcon', which 'Chinatown' is clearly trying to pay homage to. However, our lead character appears to be nothing like Humphrey Bogart. He isn't tough, he complains about people touching his blinds,and is obviously no stranger to taking sleazy and less than respectable cases. While appearing familiar, the film intentionally drifts from the codes and conventions of the genre. Nicholson and his associates then speak to woman about a new case, a scene that is almost directly taken from the opening of 'The Maltese Falcon'. While investigating, the lead character has to attend a press conference. During this event he displays lazy and disrespectful behavior, yawning and attempting to make himself more comfortable. This once again shows us that this is not the conventional noir hero, or film as a whole, that we may have been expecting.