Film Noir Reader (Paperback)

by Alain Silver (Editor, Author), James Ursini (Author)
Key Phrases: green cat, Miklós Rózsa, noir underworld, Kiss Me Deadly, Miami Vice, New York (more...)

Editorial Reviews

Product Description
This bountiful anthology combines all the key early writings on film noir with many newer essays, including some published here for the first time. The colelction is assembled by the editors of the Third Edition of Film Noir: An Enclyclopedic Reference to the American Style, now regarded as the standard work on the subject.

About the Author
Alain Silver and James Ursini

Product Details

• Paperback: 343 pages
• Publisher: Limelight Editions; 1st Limelight Ed edition (August 1, 1996)
• Language: English
• ISBN-10: 0879101970
• ISBN-13: 978-0879101978
• Product Dimensions: 8.8 x 5.9 x 1.1 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 4.1 out of 5 stars See all reviews (9 customer reviews)
• Amazon.com Sales Rank: #170,182 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

24 of 24 people found the following review helpful:

5.0 out of 5 stars Collection of Film Noir Essays, Including Some Essentials, March 22, 2005

By	mirasreviews (McLean, VA USA) - See all my reviews (TOP 100 REVIEWER)    (COMMUNITY FORUM 04)

I'm including reviews of both "Film Noir Reader" and "Film Noir Reader 2" in the same review until Amazon gets the two books unlinked.

FILM NOIR READER (1)

"Film Noir Reader" is a collection of 22 essays about film noir, written between the mid-1950s and mid-1990s by a diverse group of film theorists, including a few essays by the editors themselves, Alain Silver and James Ursini. Some of the essays are illustrated with black-and-white photographs. Mr. Silver takes the opportunity of the book's Introduction to deliver a scathing rebuttal of French critic Marc Vernet's views before commenting on the book's content.

"Film Noir Reader" has three parts: Part I is "Seminal Essays", which include 8 essays written 1955-1979. An excerpt from Raymond Borde and Etienne Chaumeton's seminal 1955 book "A Panorama of American Film Noir" is included, as well as Paul Schrader's essential 1972 essay "Notes on Film Noir". Other essays discuss film noir's visual style, existential motifs, and there is a very interesting essay by Paul Kerr on the circumstances that caused B movies, including B-noirs, to flourish in the 1940s. Part II, "Case Studies", includes 8 essays about specific films and directors, all but one addressing films of the classic noir period. Essays are dedicated to directors John Farrow and Anthony Mann, while others discuss the films "Phantom Lady", "Angel Face", "The Killers", "Night and the City", "Kiss Me Deadly", "Hickey and Boggs", and "The Long Goodbye". Part III, "Noir Then and Now", includes 6 articles that seemed not to fit into Part I or Part II, including a few about neo-noir films. Karen Hollinger discusses the effects of first-person male voiceovers on the images of female characters in classic film noir. Others essays explore films that feature fugitive couples, noir television series, neo-B noirs, and Jeremy G. Butler writes about "Miami Vice".

The date of first publication is clearly stated for all essays in Part I, but I found myself wondering when some of the other essays had been written. Publication information, including dates, are provided for each essay at the end of the book's Acknowledgments. There are some interesting and essential essays in "Film Noir Reader", and some less so, but the book provides a nice collection of opinions and observations on the style that are great food for thought for noir fans and scholars.

FILM NOIR READER 2

"Film Noir Reader 2" is a collection of 24 essays, written 1945-1999, that attempt to define the film noir sensibility and explore particular films and facets of the style in depth. This book shares the same format with the first "Film Noir Reader": Essays are arranged in 3 parts. Part I contains "More Seminal Essays" that augment the defining material in "Film Noir Reader". There are 8 essays, written 1945-1988, including a surprising article written by Lloyd Shearer for "The New York Times" in 1945. A year before French film critics identified and began to discuss the film noir style, Shearer plainly recognized a distinct trend in Hollywood toward "lusty, hard-boiled, gut-and-gore crime stories, all fashioned on a theme with a combination of plausibly motivated murder and studded with high-powered Freudian implication." Pretty neat definition only 4 years into the noir movement. And Shearer goes on to ask "why at this time are so many pictures of the same type being made?" Funny that his article should be reproduced in a book that is still trying to answer that question 60 years later. Shearer's article is followed by French critic Nino Frank's 1946 essay in which the term "noir" was first applied to film. For all the talk of film noir having been created in the minds of critics after the fact, it's apparent that these writers comprehended the existence of film noir style as it was being created.

Part II is dedicated to "Case Studies". It includes 8 essays that discuss "The Postman Always Rings Twice" (1946 & 1981 versions), "Kiss Me Deadly", "The Big Heat", "The File on Thelma Jordan", "Pushover", the neo-noirs "Mississippi Mermaid" and "Badlands", as well as the films of directors Alfred Hitchcock and Samuel Fuller. There is also an essay by Francis M. Nevins on films adapted from the works of Cornell Woolrich and an essay by Robert G. Porfino on jazz music in film noir. Part III, "The Evolution of Noir", is an eclectic assortment of 8 essays. Topics include: noir science fiction, British film noir, abstract expressionism in film noir, female protagonists in neo-noir, and tabloid/crime photographer WeeGee's (Arthur Fellig) relationship to film noir, including discussion of the 1992 film "Public Eye" that was inspired by his career. Film professor Philip Gaines provides an outline of his film noir course, with recommended films and suggested reading. I'd like to mention, in response to Linda Brookover's essay on WeeGee, that although WeeGee's talent for self-promotion was equal to his gift for photojournalism, his photographs were not unique. The work of many excellent and tireless crime photographers adorned the pages of daily newspapers in the 1920s-1950s. Some of them can be seen in the "New York Noir" gallery of the "New York Daily News" archive at www.dailynewspix.com . Tabloid photography is usually overlooked as an influence on film noir, so I'm glad that Ms. Brookover has addressed that oversight, even if I don't entirely agree with her assessment.

16 of 18 people found the following review helpful:

5.0 out of 5 stars An Essential Film Noir Reference, May 8, 1998

By A Customer

Barring an English translation of Borde and Chaumeton's seminal Panorama du Film Noir Américain, this collection may well be the most valuable Film Noir reference available. It gathers nearly all the most important essays and articles of the last 40 years, including the introduction to the above-mentioned work by Borde and Chaumeton, Paul Schrader's "Notes on Film Noir", Raymond Durgnat's "Family Tree of Film Noir" and Higham and Greenberg's "Black Cinema" chapter from Hollywood in The Forties. The collection is exceptionally valuable, if rather poorly edited; I wouldn't suggest throwing out one's original, dog-eared copies of the items mentioned above. The book also suffers from a difficult-to-read sans serif typeface. Still, you're unlikely to find all these valuable articles together in any other book. That alone makes it a valuable buy.

11 of 13 people found the following review helpful:

4.0 out of 5 stars Not as great as I had hoped, March 27, 2001

By	Scott Simonsen (Hermosa Beach, CA United States) - See all my reviews

Perhaps I expected something more. The essays in this book are often repetitive and non-progressional in subject matter. The softcover version of the book has stills that are more brown and white than black and white... For my money, I am a bigger fan of Hirsch's "The dark side of the screen". It is a well thought, well researched look at noir with a cohesive structure. This all is not to say that a majority of the essays in the Reader are not helpful. Of course it is great to read Schrader's piece and some others which deal with nice specifics (how economics affected growth of B genre, lighting, etc.) but at the end of the day I feel too many of the essays are only about defining the genre (or not genre) rather than delving into other things. Also, I probably will buy more books by these authors simply because their care for noir is so true and strong...