American Aesthetics, British Mores

In a three-part excerpt from his new book, European Film Noir, UK cultural history expert Andrew Spicer examines the cinematic debts and distinctive cultural characteristics of British “neo-noir” films for the Noir of the Week blog. Remarks Spicer:

Although some British neo-noirs are derivative imitations of their American avatars, the majority display a strong sense of national identity and, like Face, engage directly with contemporary British life. They combine the observational, quasi-documentary aesthetic of social realism, a powerful and pervasive presence within British cinema, with noir conventions. The two traditions create a different sense of space and place, generic and realistic, which give these films a textual and iconographic richness. With some exceptions, the most interesting British neo-noirs strive to capture the dynamism of American films combined with a detailed, and also highly critical, exploration of British social mores. They are also preoccupied with the complexities of masculinity: male violence, neuroses and unstable identities.

But within these broad parameters, British neo-noirs are a remarkably heterogeneous corpus of films, with few internal connections in terms of personnel. This reflects the notorious instability of the British film industry whose volatility (shortage of production finance and chronic problems of distribution and exhibition) makes it very difficult to forge durable production teams which can sustain and develop their creative endeavor over a number of films that explore similar themes and issues. In Britain there is little sense of a community of film-makers whose films are mutually reinforcing, or which can act as a creative influence on each other. It is much more the case that each film is a separate event, produced in isolation, with each neo-noir having to invent itself anew; it is no coincidence that many contemporary British neo-noirs are the work of first-time writer-directors. However, given these unpromising conditions, neo-noir is often an attractive option because it can be made on limited budgets without necessarily compromising its thematic and visual sophistication; deft lighting and adroit compositional devices can compensate for minimal sets and restricted settings.

Over the course of the piece, Spicer concentrates on three films: Mona Lisa (1986), Croupier (1998), I’ll Sleep When I’m Dead (2003). Part 1 can be found here, with Part 2 available here, and Part 3 here.