1. Gerald Lloyd
One of the main conventions of Film Noir is a troubled
male lead., the ‘Hard-Boiled Detective’. He is portrayed
as more of an anti-hero rather than a hero and is
usually tricked into something that he doesn’t want to
do. He is shown as troubled and conflicted and is left to
get himself out of trouble, and he always loses. Our
character Gerald Lloyd fits into this category as we have This still shows moral ambiguity and is part of a pan shot
portrayed him as the Noir style male detective caught that shows him looking at his own shadowing, again,
up in something he doesn’t t want to be involved with. suggesting moral ambiguity and conflict. Gerald could
He is also dressed in the typical attire of a fedora hat, compare with the character of ‘Phillip Marlow’ in ‘The Big
which immediately represents the Noir era. Sleep’ (Hawks 1946). Their attire is the same, fedora hat,
shirt and tie but Phillip is only paid $25 a day and is in
search of truth, many critics have described him as a
‘modern day knight’, willing to do anything for the greater
good. Yet in the end we have to question how successful
he is as a knight and as a private detective because in
order to discover truth , he has to make sacrifices. Gerald
is similar in this sense as his narration is ambiguous and
lead us to believe he has murdered someone, “and she
knows it was me”, yet this being the opening scene,
Gerald is merely telling us his thoughts, not an actual
account of previous events he “pretended to know
nothing” about.
This shot represents Gerald as troubled and lost in
thought. Film Noir uses elements of German expressionism
such as side lighting to enhance the profile from one side.
This shows that the character is experiencing moral
ambiguity and therefore represents him as someone who
has committed a crime, or done something he isn’t proud
of. Being in the 21st century, film noir and representation
has changed, and by choosing to set our film in 1938, we
are focusing on the particular social groups that were
present back then, but still apply to the present day.
Private detectives at that time were particularly wealthy
and we show this with the props such as the leather
Phillip Marlow ‘The Big
briefcase, the money, and the crystal glass. The lighting
Sleep’ (Hawks, 1946)
adds to the representation of this particular social group as
it is dark and casts shadows, which show he is experiencing
moral conflict. He is brooding and troubled and therefore
represents the pressure of the job and how being a private
detective, especially in a film noir, one is lured into a crime
by a woman. He is dressed in a shirt, tie and braces, which
also show he is quite wealthy and they also reflect the era.

2. This shot compares with the representation of Walter Neff in ‘Double
Indemnity’ (Wilder, 1944)and J.J Gittes in ‘Chinatown’ (Polanski, 1974).
Gerald Lloyd looks guilty, like the other characters. His expression remains
calm, which adds to the social group of the ‘Hard-boiled detective’ as he
doesn’t show any feelings, or remorse. The lighting adds to this as only one
side of his face is lit, which suggests a hidden identity and that the character
has a ‘dark side’. This shot represents the film noir convention of an anti- hero
and clearly holds elements of other Noir male leads.
You can see by his facial expression that he is mesmerised by the
woman who has just walked in, Lola Odell. This shows that she has
the ability to capture his attention and distract him from what he is
doing. Male characters in Film Noir are seduced by a femme fatale,
who is shown as a dominant figure. This reaction is showing that she
has power over him and when around her he is weaker, another flaw
Lola Odell
in his character. This representation again, compares with Walter Neff
and his relationship with the femme fatale, Phyllis Dietrichson.
Lola Odell is similar to Phyllis
Dietrichson in ‘Double Indemnity’. She
tries to seduce Walter in order to get
her own way and there is one particular
scene where she points a gun at him.
This scene in our film is similar to the
former, expect the femme fatale is
represented with more power and
dominance with the gun than Phyllis.
Film Noir gives a very central role to the
femme fatale and shows her as
dominant and in charge. We wanted to
show the gun as a symbol for
‘unnatural’ phallic power, a cigarette
box being another example. Women are
empowered by their sexuality and we
wanted to show this particular view of
women as a social group through this
Walter Neff ‘Double Indemnity’ (Wilder,
doorway shot. We also show Lola as a
1944)
dominant female character as we are
lead to believe that she shoots Gerald,
therefore breaking convention as
usually women in film noir pay for their
privileges with death or by giving in to
the patriarchal system. We also wanted
to show her as attractive and flirtatious, Phyllis Dietrichson ‘Double
and we did this by panning up her body. Indemnity’ (Wilder, 1944)
This represents her as a provocative
woman and we are using the
convention of objectification of woman.
J.J Gittes ‘Chinatown’ (Polanski, 1974)

3. The act of killing the lead male protagonist is becoming a recurrent
resolution/exposition in modern thrillers as well as film noir. ‘The Maltese
Falcon’ (Huston, 1941) opens with the femme fatale shooting Miles Archer,
the lead protagonists partner. This surprise point-blanc killing was
something we wanted to replicate in our film noir, with particular emphasis
on the killer being a woman. Lola Odell fits into the social group of women
in the 1920’s as well as the 1930’s, and women today. She is independent,
not afraid to speak her mind, and by using her sexuality, she gets what she
wants, this is a similar trait to the femme fatale Gilda in the 1946 Charles
Vidor Noir, ‘Gilda’. She manages to make the act of taking off a glove sexy
and we wanted to replicate this idea of making simple things flirtatious,
such as walking into a room.
Kathie Moffattin ‘Out of the Past’ (Tourneur
1947). The character of Kathie is similar to Lola
By only showing her lips we are placing the character of Lola with
as she shoots a man who has betrayed her.
the group of women who flaunt their sexuality and figure in order
Lola Odell is involved with Gerald, and the
to manipulate men. Lola is the classic femme fatale, she rejects activities he becomes a part of make her feel
the role of the devoted housewife and mother, the roles that
like he has betrayed her “and she knows it was
society have placed upon women. She stands for the independent
me” she therefore shoots him, a lot like the
women in the 1920’s who progressed into the 1930’s.
situation Kathie is in with Jeff.
F.S.Fitzgerald’s novel ‘The Great Gatsby’ also portrays strong
female characters that have dominance over men.
Cora Smith in ‘The Postman Always Rings Twice’
(Garnett 1946).Lola also fits into the same social
group as Cora Smith, but Lola is a stronger character
Our final shot shows Lola’s shadow holding a gun. This stance
than Cora. Cora murders a man she does not love in
connotes dominance and power, leaving the viewer with the
order to be with someone else, a crime of passion.
sense that Lola is the antagonist here as she has shot Gerald.
She is a woman trapped in a male dominant , and
This shot places her in the social group of independent, strong
meet s her fate in a car accident. The man she
women who are the masters of manipulation, a classic
wanted to be with instead of her husband was
convention of a femme fatale in a film noir.by keeping her
driving the car, which shows how women are
identity hidden by only showing silhouettes we are enhancing
controlled by men and no matter how hard they try,
the mystery surrounding her as a character and as a woman.
they are overpowered by the patriarchal system.