The intersection of noir and woman's melodrama is a sweet spot for me, though not, I think, for ChiO.
It can be a very sweet spot for me. THE RECKLESS MOMENT
, MY NAME IS JULIA ROSS
, THE SECRET BEYOND THE DOOR
, CLASH BY NIGHT
and, to escape the bounds of the classic era of noir, WANDA
. And more, I'm sure. (A WOMAN UNDER THE INFLUENCE
and LOVE STREAMS
, just to really push the envelope?)
And thank you for the heads up on the Morlock write-up. Therese is a marvelous instructor. We've become very good friends. Other classes I've taken from her include: Ophuls
, and Sirk
RedRiver -- I'm with you. "Film noir", to me, is a flexible, fluid, and evolving short-hand term for a theme that is expressed by extensive use of one or more of the "conventional" film noir means (setting, lighting, camera angles, etc.). But every film noir is also something else -- a Western, a crime melodrama.... As do most movies, it crosses categories. That's why I try not to get hung up on "X is not a film noir." Rather than putting everything in a little box, I tend toward using either multiple or bigger boxes.
P.S. CITIZEN KANE
is a social commentary-political-psychological-melodrama-biopic-mystery-Western-musical noir.