Part of this may be attributed to the aforementioned grimy aesthetic (which, to reiterate, is a positive aspect), yet there are large portions of the film where it feels like the story may be taking place in any American city by the ocean. Strangely enough, if there is any negative to be argued about the film’s look and how it handles the New Orleans as a shooting location and setting for the story, it would be that New Orleans’ character does not shine through very much. Even regular daytime scenes in offices, such as during the early autopsy of Kochak’s body, lack enhanced lighting techniques and possess a gritty, realistic look.
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Rather, the movie embraces it, a telling example of how the cinematographer and director Kazan wanted to depict the often romanticized city of New Orleans. The picture, and by extension the world of the film, possesses an undeniable griminess about it which it never even tries to shake off. Much of the story is set either at night or inside various seedy apartment complexes or low end restaurants, setting up a dark, near-oppressive mood under which the protagonists must come together against their instincts if they are to prevent a viral disaster from striking. See also Friday (neo)Noir: 'Kiss Kiss Bang Bang' features hilarity, wit and Black's command of noirĪs for what fans will find comforting, there is, first and foremost, the film’s look by cinematographer Joseph MacDonald.
Reed convinces officials and new Orleans police captain Warren (Paul Douglas) that the departed’s accomplices must be found, for they too may have contracted the disease unbeknownst to them, a scenario the severity of which officials would rather prevent than contemplate. Clinton Reed (Richard Widmark) discover, after the ill-fated hoodlum’s body is found in the harbour, that he the deceased carried a pneumonic plague virus. One person’s end proves the start of an alarming chain reaction of consequences when the coroner and his close colleague Dr. He manages to leave the premise, but never gets very far outside the neighbourhood as the trio of gangsters quickly track him down, kill him mercilessly and take his money. Kochack, a little dizzy and very sweaty, is visibly ill and demands to leave, much to the consternation of his playing mates, who have unfinished business with him, namely, the cold hard cash he owes them. In 1950 he made Panic in the Streets, a film that falls firmly into the film noir mould while turning a few of its perceivable qualities on their heads.įour small time gangsters, Kochak (Lewis Charles), his cousin Poldi (Guy Thomojan), Fitch (Zero Mostel) and their de facto leader Blackie (Jack Palance) are playing cards in a seedy part of New Orleans. He did venture into different territory however, although it felt like even in such attempts his desire to comment on politics or society was never far behind. Gentleman’s Agreement, Pinky and On the Waterfront come to mind. Harmony Korine explores the oft avoided subcultures of the United States, John Carpenter’s greater strengths lie in sharing thriller and horror tales and Elia Kazan’s most famous and respected projects were those which directly concentrated on critical social issues affecting the United States during this time, issues which far too many preferred to either shove under the rug or virulently disagreed to reach compromise on.
In fact, it is often quite the contrary insofar as such directors are often (but not always) heralded as important voices for specific genres and styles. This lack of diversity is by no means sufficient grounds for criticism. Some directors make their careers by telling the sort of stories and using the cinematic techniques which best suit them. Written by Richard Murphy and Daniel Fuchs
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