Noah Cross, Norma Desmond, Norman Bates, Harry Lime—these are a few of nearly 100 names that inhabit the mind of the narrator as he starts to compose short biographies of some of the most famous characters in the history of film noir. He sketches in whole lives, lives as intense as the dreams put up on the screen. The book begins to become a novel when the characters start to meet each other outside their respective films—as if they were real people with needs and passions. The names and faces are familiar to us—Jake Gittes from Chinatown, Laura Hunt and Waldo Lydecker from Laura, Rick and Ilsa from Casablanca—but is it true that Noah Cross and Norma Desmond were lovers in the 1920s, that she and Joe Gillis had a son who grew up to be Julian Kay in American Gigolo? The narrator is not merely the author, he has a mission to carry out—a lost family link to find, a thread to pull so that nearly all these disparate characters come together to form a kind of society. Ultimately this examination on how movies affect audiences—not only shaping perceptions and memories, but in some ways coming to stand in for them—can also be read as an unsettling examination of identity and the construction of self through the medium of narratives; or simply as a fascinating take on movie fandom.
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Editorial Reviews
About the Author
David Thomson is a prolific writer on film; his books include the controversial biography of Nicole Kidman, biographies of David O. Selznick and Orson Welles, and two books on Hollywood, Beneath Mulholland and The Whole Equation: A History of Hollywood . He lives in San Francisco.
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Most Helpful Customer Reviews
18 of 19 people found the following review helpful:
4.0 out of 5 stars
More going on here than meets the eye,
By
Amazon Verified Purchase(What's this?)
This review is from: Suspects (Hardcover)
You may have read Thomson's excellent movie reviews or his wonderful book on Orson Welles. If so, you know this guy is both a film scholar and a die-hard fan of the medium."Suspects" is a must-read for any film buff. Thomson goes back into movie history and writes short biographies of various film characters, starting early in their life and usually ending with their deaths. These extrapolated bios are fascinating alternative histories of the sort of movie characters whom you want to continue to get to know even outside the scope of the pictures they appear in. So the book is vastly entertaining if you're the sort of person who wonders what "Chinatown"'s Jake Gittes' childhood was like, or whatever happened to George Bailey after "It's a Wonderful Life" ended. But there's more going on in this book than the fantastical and fully imagined bios. Soon various characters from different movies begin appearing in other characters' bios, and the real-life bios of producers and actors and directors start to seamlessly creep into the text. At some point you realize that the narrator is not Thomson but rather a famous movie character (I won't reveal who it is here). This narrator's presence ties the seemingly disconnected vignettes together, and gives the book a darker feel as it progresses. In the end, you realize this is not just a whimsical book about the love of movie characters. It's ultimately an examination on how movies affect the way we think and how film not only shapes our perceptions and our memories but in some ways comes to stand in for them, both for the good and for the bad. And that's why I love this book -- you can read it as an unsettling examination of identity and the construction of self through the medium of narratives, or you can read it simply as a fascinating take on movie fandom. Either way, it's fabulous.
4 of 5 people found the following review helpful:
4.0 out of 5 stars
Experimental Fiction Uses Film Noir to Unlock the American Psyche,
By A. Ross (Washington, DC) - See all my reviews (VINE VOICE) (HALL OF FAME REVIEWER) (TOP 500 REVIEWER) (REAL NAME)
This review is from: Suspects (Paperback)
This has got to be one of the hardest books to describe I've come across. You could fairly label it any (or all) of the following: meditation on film noir, meditation on the American psyche, film buff fanfic, partial encyclopedia of film characters, or experimental fiction. Thomson is an eminent film critic and biographer, and back in the early '80s, he was approached to put together a dictionary of film characters. As he thought about the project, the more problematic it seemed to him. So he reconceived it by focusing on the characters from a core of classic noir films and planning out how they might have interacted.
The book unfolds as brief biographies of almost 100 characters from around 40-50 films, mostly from the 1940s-1970s era. The characters are reimagined as they interect with the "real" world as well as the "reel" world of others in the book. So, for example, the characters Noah Cross (Chinatown) and Nora Desmond (Sunset Boulevard) are shown to have been lovers in the 1920s, while Ilsa (Casablanca) dies in the 1963 plane crash that killed U.N. General Secretary Dag Hammarskjöld . Meanwhile, some characters are revealed to be relatives of others and so forth. As readers of Thompson's Biographical Dictionary of Film know, he is a gifted and incisive biographer, and his fictional work here is equally skilled. All of which makes for interesting (and sometimes amusing) metafare, but there's something deeper at work. It's not at all clear who the first-person writer of these mini-bios is (it's clearly not Thomson), nor how he or she is related to them, or what the purpose of all the succession of bios is. However -- there is a big clue in the form of a map at the very beginning. That said, the clue didn't register with me, and about 1/3 of the way into the book, I was confused enough to start skipping around a bit. At the back, I found a family tree that unlocked the riddle and sent me back into the book, flipping back and forth to connect the dots (one of the book's juicier pleasures arrives once the reader works out the identity of Travis Bickle's (Taxi Driver) father.) As befits a book of such odd construction and narrative, one can interpret it many different ways -- as a statement on identity, a statement on American values, a statement on aging, a statement on the function of film, or even just an odd entertainment. Whatever one's reaction, it's definitely worth checking out by those interested in experimental approaches to fiction, as well as those with a penchant for film noir. It would certainly be to the reader's advantage to be familiar with at least half the films referenced by the book, otherwise the character sketches are going to be hardest to contextualize in the mind. I was familair with about 3/4 of the characters in the book, and found the unfamiliarity with the other 1/4 to detract from the grip of the book.
1 of 1 people found the following review helpful:
2.0 out of 5 stars
Disappointing,
By JEB (Laurel, MD United States) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Suspects (Hardcover)
I didn't go into this demanding much - just a series of intriguing fictional biographies that interconnected with each other over the course of the novel. And to be fair, most of the biographies are well-written, and many are interesting. A few are even touching. But there are two major flaws that kept me from really enjoying this book:1) To really appreciate this as a whole, you need to be familiar with all of the characters' source films. This is especially noticeable with some of the less famous films. 2) A significant number of the characters have unpleasant histories, with elements that only seemed to be added for shock value. This reaches its offensive peak with the last few bios, including that of the narrator. If those two issues aren't likely to be a problem for you, then you might get something out of this. Otherwise, I'd probably pass.
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