Nightmare Alley - Film Noir And The American Dream
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Emerson, Ralph Waldo, 2–3
émigrés. See immigrants
Endfield, Cyril, 17, 220, 250
and witch hunt, 224, 245, 250, 255, 290–91n1
End of the Road, 281n18
Engels, Frederick, 230, 235, 237
Englund, Steven, 222, 224, 271n17
Enterprise Studios, 14, 284n43
and Body and Soul, 231, 234, 288n26
and Caught, 211, 214, 285n47
expressionism, 82, 129
Federal Bureau of Investigation (FBI), 238, 289n35, 290n47
feminism, 185, 210, 215
femme fatales, 17, 185, 193, 196, 282n25
femme noir, 187, 188–91, 218, 219
The Accused, 199, 201–3, 282–83nn23–34
The Bigamist, 147, 215, 216–18, 285nn51–55
Caged, 207–10, 284nn40–41
Caught, 5, 211–14, 284–85nn44–47
The Damned Don’t Cry, 197–99, 281–82nn19–20
Dark Waters, 192
Gilda, 192–97, 281nn14–17
Mildred Pierce, 188–91, 216, 280nn7–10
Not Wanted, 214
Outrage, 203–4, 283nn35–36
Phantom Lady, 159, 171, 192, 271n20, 272–73n1, 277nn9–12, 281n12
Possessed, 205–7, 283–84nn37–39
File on Thelma Jordon, The, 199–201
Filmakers, Inc., 211, 215–16, 218
film gris, 225, 286n13, 288n25
film industry, 2, 13, 21, 23, 223
émigré directors in, 11, 20, 264n7, 266–67n1
female filmmakers and, 17, 58, 180, 185, 187–88, 191–92, 214, 218–19, 261
film noir and, 13–14
gender views of, 112, 185, 193
HUAC and, 86, 101, 221, 222–23, 224, 240, 283n38
independent production companies in, 14, 211, 250, 284n43, 286n13
and melodrama, 14, 23, 187, 189, 216
screenwriters and, 188, 215, 224, 286n6
view of jazz by, 17, 155. See also blacklist; censors
film noir origins and definition, 11–12, 14, 132, 264n9, 275n1
Fisher, Doris, 281n16
Fisher, Steve, 15
fishing, 55, 56, 267n5
flashbacks, 270n4
in dream films, 39, 265n14
in femme noir films, 201, 205–7, 216, 282n26
in identity films, 51, 61
in jazz films, 162, 166
musical themes associated with, 161–62
in portraiture films, 106, 107, 109, 127
as prototypical noir device, 51, 79–80, 106
in vet noir films, 80, 82, 83
Fleischer, Richard, 289n38
Fletcher, Lucille, 188
Flinn, Caryl, 161, 162
Foch, Nina, 19, 58, 267n6
Fontaine, Joan, 216, 218
Force of Evil, 234–39, 288–89nn32–36
on capitalism and crime, 220, 234–37, 249
Ford, Glenn, 193, 281n14
Forrest, Sally, 170, 214, 277–78n15
Fotsch, Paul, 132, 275n2
Fouchardière, Georges de la, 116
fracturing, 6, 53–54, 129, 131
frame narratives, 106, 109, 112, 127
framing, 106, 107, 118, 125
in La chienne, 120, 274n17
in The Dark Corner, 113, 114
in I Wake Up Screaming, 108, 109
in Laura, 110, 112
Francke, Lizzie, 187
Frank, Arthur, 80
Frank, Nino, 275n1
Franklin, Benjamin, 2
Freedman, Jonathan, 37, 266nn21–22
freedom and liberty, 4, 5, 10, 21, 75
American Dream and, 12, 100
automobiles and, 16, 132, 135, 136, 148
as ideal, 2, 249
Freudianism, 278n19
on dreams, 20, 22–23, 24, 265n8
Frings, Ketti, 188, 199, 203, 282nn21–24
From Here to Eternity, 272n30
Fuchs, Daniel, 70, 71, 75, 76, 269n26, 269nn28–29
Fuller, Samuel, 137
Fury, 254
Gabbard, Glen O., 263–64n6, 266n23
Gabbard, Krin, 263–64n6, 266n23
on jazz films, 170, 171, 277n5, 279n33
Galatea/Pygmalion myth, 106, 110
gangster films, 4, 17, 25, 225, 287n14
Gardner, Ava, 51, 52
Garfield, John, 133, 220, 231, 234, 285–86n3
biographical information on, 231, 288n25
and witch hunt, 224, 288n29
Garmes, Lee, 211
Garnett, Tay, 133
Gay, Peter, 23
geek, 163, 253, 263n1
in Nightmare Alley, 1, 6, 9, 10
gender roles, 54, 125, 170, 270n10
female filmmakers on, 191–92, 214, 217, 261
femme noir films on, 199, 208, 214, 217
jazz and, 154, 163
postwar anxieties about, 17, 115, 185. See also women
Gershwin, George and Ira, 156
Giddens, Anthony, 150
Gilda, 192–97, 281nn14–17
Gioia, Ted, 163
Goetz, William, 274
Gomez, Thomas, 91, 235
Goodman, Benny, 156
Gorbman, Claudia, 154, 161
Gothic, 187, 192, 280n4
Gough, Lloyd, 231, 288n24
Goulding, Edmund, 1
Grable, Betty, 108, 109
Graebner, William, 13
Granger, Farley, 137, 138
Gray, J. Glenn, 101–2
Green, Johnny, 233
Greene, Eve, 188
Greene, Mort, 163
Greer, Jane, 54, 57
Gresham, William Lindsay, 8, 263n2
Griffith, E. H., 192
Grossman, Julie, 185, 192
guilt, 24, 25, 26, 168, 260
America and, 76, 105
dreams and, 19, 26, 33, 36, 44–45
Spellbound depiction of, 38, 39, 43
Gun Crazy, 5, 136, 140–42, 187, 276nn9–10
Gunning, Tom, 125, 136
Hall, George, 275n4
Hamlet, 25, 26, 28, 265n13
Hammett, Dashiell, 11, 46, 47
Hampton, Lionel, 156
Hannah, Dorothy, 188
Hanson, Helen, 280n4, 281n12
hard-boiled fiction, 11, 15, 115, 192, 264n8
Harline, Leigh, 163
Harris, Oliver, 116, 119
Harrison, Joan, 34, 36, 37, 159, 163, 271n19
as producer, 191–92, 280n11
Hartmann, Ernest, 44, 265n7
Haskell, Molly, 280n3
Hastie, Amelie, 215, 217
Hathaway, Henry, 113
Hayden, Sterling, 220, 223, 290n43
Hays Office, 36
Hayward, Lillie, 188
Hayworth, Rita, 112, 185, 192–93, 196
Hecht, Ben, 271n19
Heflin, Van, 100, 102, 205, 228, 255, 257
heist films, 239, 240, 243, 289nn37–39
Hellinger, Mark, 287n16
Henreid, Paul, 69, 70, 71, 72, 75, 76, 269n24
biographical information on, 269n25
Higgins, John C., 281n18
High Wall, 78, 97–100, 272nn24–30
Hillis, Ken, 3, 134
Hirsch, Foster, 19, 46–47
Hirsch, Joshua, 225, 287n14, 289–90n42
Hitchcock, Alfred, 42, 191, 266nn26–27
and film noir, 266n20
and Spellbound, 37, 38, 40, 42, 266n21
The Hitch-Hiker, 145–47
hitchhikers, 133, 144, 148, 150
challenge to ownership by, 134–35
and lawlessness, 147
hitchhiking films: Detour, 142–44, 161, 162, 276nn12–14
The Devil Thumbs a Ride, 144
The Hitch-Hiker, 145–47
The Night Holds Terror, 147–48
Hively, Jack, 49
Holiday, Billie, 156
Hollow Triumph, 48, 69–76, 120, 249, 269nn25–29
Hollywood Left, 12–
13, 17–18, 100, 220–48, 261, 286n12
and communism, 221, 290–91n1
and film noir, 224–25, 286n12. See also blacklist
Hollywood Quarterly, 221–22, 286n4
Hollywood Ten, 222–23, 285–86n3, 286n7
Holmes, Taylor, 103, 208
homosexuality, 33, 83, 165, 284n44
in Gilda, 193, 281n14
in Laura, 109, 273n3
homosociality, 33, 88, 89, 279n28
Hopper, Edward, 234
Horizon Pictures, 14
House Un-American Activities Committee (HUAC), 97, 104, 247
and Hollywood, 86, 101, 221, 222–23, 224, 240, 283n38
naming names for, 223, 290n43
Howe, James Wong, 231
Hughes, C. J. Pennethorne, 21
Hughes, Dorothy B., 271n19
Hughes, Howard, 284n44, 286n12
Hughes, Langston, 173–74
Humphries, Reynold, 241, 255
Huston, John, 46
and The Asphalt Jungle, 220, 241–42, 244
and Committee for the First Amendment, 222–23, 244
Huston, Virginia, 55, 164
Hyde, Thomas, 43
“I Can’t Believe That You’re in Love with Me,” 162–63
identity, 4, 16, 30
American, 15, 79, 184
authorship and, 120, 124
automobiles and, 133, 134, 135, 137
consumer goods and, 5, 10
dreams and, 20, 21
as fluid and malleable, 47, 92, 107, 115, 261
forged, 115, 125
Franklin and Emerson on, 2, 3
Nightmare Alley on, 10, 15
in portraiture films, 106, 107, 115, 120, 122, 127, 131, 261, 280n9
in postwar period, 4, 5, 97
in switched-identity films, 39, 42, 48, 50
in vet noir films, 77, 78, 82, 89, 96, 97
women and, 58–59, 60, 198, 210
writing as certification of, 39, 63
I Married a Dead Man (Woolrich), 61, 62, 64, 268n13, 268n17
immigrants, 4, 37, 76, 93
returning vets feeling like, 81, 82, 93
and switched-identity films, 48, 266–67n1
individualism, 76
and alienation, 69, 249
and American Dream, 4, 135
and community, 3
Dark Passage on, 69, 261
Hollow Triumph on, 249, 261
ideology of, 2, 48
noir critique of, 4, 15, 107, 221, 260, 261
informers, 149, 226
in Act of Violence, 100, 101, 104
during blacklist era, 223, 290nn43–44
in Force of Evil, 237, 239
Ingster, Boris, 21
innocence: and evil, 140
lost, 92, 97, 170, 243
International Alliance of Theatrical Stage Employees (IATSE), 222
isolation, 48, 77–78, 92
automobiles and, 133, 134
I Wake Up Screaming, 106, 107–9, 115
I Want to Live, 174, 278–79nn26–27
Jaffe, Sam, 202, 240
Jameson, Fredric, 5–6
Jarrico, Paul, 285n48
jazz, 154–84
and American Dream, 170, 174
big-band, 175
and blackness, 16, 154, 155, 160, 161, 166, 178, 180
crime jazz, 174, 279n29
and cultural anxieties, 154, 161, 176
in Detour, 161, 162
and disability, 154, 168
improvisation in, 155, 162, 173, 180, 182
New Orleans–style, 158–59, 167
noir association with, 16, 154
and postwar world, 12, 154, 155, 158, 163
as quintessentially American, 155, 184
as rebellion, 161
respectability and legitimacy of, 172, 179
and sexuality, 16, 154–55, 159, 160–61, 165, 175, 176, 277n9, 277n11
as symbol of otherness, 154–55
tolerance and idealism in, 16–17, 170, 279n33
unsavory connotations of, 17, 155, 159, 171, 174, 175, 176, 178
and violence, 154, 155, 161, 168
jazz films, 162, 168, 249
The Big Combo, 77, 174–76
Black Angel, 165–67, 278n17
The Blue Gardenia, 168–70
Blues in the Night, 156–58, 277nn5–6
Criss Cross, 160, 277nn11–12
Dead on Arrival, 160–61, 171
The Man I Love, 179–81, 188, 279–80nn34–39
Nightmare, 167–68, 278n19
Nocturne, 163–65, 191, 278n16
Odds against Tomorrow, 172–74, 278–79nn24–28, 289n39
Phantom Lady, 159, 171, 192, 271n20, 272–73n1, 277nn9–12, 281n12
Road House, 181–84
The Strip, 170–72, 178, 278nn20–23
Sweet Smell of Success, 176–78, 279nn31–33
jazz musicians, 163, 168, 178, 179
as childlike and weak, 157, 170, 183
as effeminate, 155, 163, 277–78n15
female singers, 16–17, 179–80, 183–84
as idealistic, 179, 279n33
and interracialism, 16, 177, 278n20, 279n33
and mental disturbance, 16, 155, 163, 277–78n15
whites as, 16, 155
Jews, 155, 277n5
Johnson, Nunnally, 274n16
Johnston, Eric, 222
Jolson, Al, 156
justice, 29, 30, 254
Kahn, Gordon, 286n7
Kalinak, Kathryn, 154, 155, 273n4, 273n8
Kaminsky, Stuart, 289nn37–38
Kaplan, E. Ann, 274n17
Karlson, Phil, 289n39
Kazan, Elia, 223, 277n5
Kellogg, Virginia, 188, 207, 210, 284n41
Kemp, Philip, 11, 224–25, 286n12
Kenton, Stan, 279n29
Killens, John O., 278n24
Killers, The, 48, 50–54, 266n26
Kiss Me Deadly, 5, 150–52, 158
Kitses, Jim, 141, 276n10
Koch, Howard, 286n7
Kracauer, Siegfried, 264n3
Krutnik, Frank, 11, 24, 78, 271n16, 285–86n3
Kubrick, Stanley, 289n39
Kuhn, Annette, 215
Lackey, Kris, 134, 276n11
Laderman, David, 276n12, 276n14
lam films, 135–42, 275n6
Gun Crazy, 5, 136, 140–42, 187, 276nn9–10
Shockproof, 137
They Live by Night, 136–39, 158
Lancaster, Burt, 50, 52, 160, 177, 225
Lang, Fritz, 123, 136, 168, 254
and La chienne, 121–22, 123, 125
and Scarlet Street, 106, 116
and Women in the Window, 36, 106, 116, 119, 274n16
Lardner, Ring, Jr., 265n13, 286n7
Latimer, Jonathan, 278n16, 283n34
Laura, 106, 109–12, 273nn3–8
musical theme play in, 110, 273n5
Laurents, Arthur, 211, 284n42
Lawrence, Marc, 240, 290n44
Lawson, John Howard, 224, 285–86nn3–4, 286n7
Lears, Jackson, 4–5
Lebeau, Vicky, 21
Lederer, Charles, 271n19
Lee, Canada, 224, 232, 288n29
Leff, Leonard, 273n3
leftist filmmakers. See Hollywood Left
Leigh, Janet, 100, 102
Leisen, Mitchell, 61
Levine, Lawrence, 156
Lewis, John, 172
Lewis, Joseph H., 140, 174
Little Caesar, 4
Look Homeward, Angel, 282n21
Loos, Anita, 281n13
Lorre, Peter, 31, 34, 166
Los Angeles, 71, 132–33, 150, 171
Losey, Joseph, 17, 28, 220, 249–50
and blacklist, 224, 256, 265n15
and The Prowler, 255, 256, 260, 291n5
Lott, Eric, 155
Lovejoy, Frank, 146, 250
loyalty oaths, 223, 286n10
Luckhurst, Roger, 79, 270n4
Lupino, Ida, 17, 214–15, 218, 280n40
as actress, 179, 180, 181, 182, 183, 214, 279n34
and The Bigamist, 211, 215, 218, 285n53
and The Hitch-Hiker, 145
and Not Wanted, 214, 215, 277–78n15, 285nn48–49
and Outrage, 203, 204, 215
lynching, 254
MacDougall, Ranald, 189
machines, 150, 153, 243
Macready, George, 58, 193
Maltby, Richard, 12, 14
Maltese Falcon, The, 46–47, 54, 90, 275n1
Maltese Falcon, The (Hammett), 46, 47
Maltz, Albert, 188, 285–86n3, 286n7, 287n16
Mancini, Henry, 174, 279n29
Man I Love, The, 179–81, 188, 279–80nn34–39
Mankiewicz, Joseph L., 92
Mann, Anthony, 139, 281n18
Man with the Golden Arm, The, 174
Marin, Edwin L., 163
marriage, 17, 86, 197, 203, 205, 211
The Bigamist on, 211, 216–18, 285n55
career women and, 196
Caught on, 211–14, 284n46
changing ideas of, 186–87, 217–18
as economic arrangement, 211
female filmmakers on, 191, 214, 261
and female sexuality, 193, 195, 203, 217
as form of abduction, 59, 60
Gilda on, 193, 195
My Name Is Julia Ross on, 58, 59, 60
No Man of Her Own on, 63, 64–65
as proper women’s role, 186, 191
Marshall, Herbert, 99, 130, 245, 272n27
Martin, Angela, 280n5
Marx, Karl, 227, 230, 233, 235, 237, 283n34
masculinity, 15, 88–89, 197, 214, 255
automobiles and, 147
in The Bigamist, 216, 217
in The Big Night, 28, 29, 30, 45
and disability, 78, 83
hitchhiking and, 145
veterans’ redefining of, 78, 79
Mason, Fran, 289n40
Mason, James, 212, 213
masquerade, 54, 62, 73–74, 194, 195
Massey, Raymond, 118, 205
Maté, Rudolph, 19, 160
Maxfield, James, 58
May, Lary, 220, 225, 289n41
Mayo, Virginia, 82, 149
McCann, Sean, 277n11, 279n33
McClary, Susan, 163
McGilligan, Patrick, 122, 220
McGivern, William, 278n24, 279n28
McLean, Adrienne, 180, 279n35
Medford, Harold, 197
media, 221, 248
The Asphalt Jungle on, 243–44
and red scare, 224, 245, 290n48
Try and Get Me! on, 250, 254
The Underworld Story on, 221, 245–46, 249
Meegeren, Han van, 274n21
melodrama, 14, 23, 187, 189, 216
memory, 39, 80, 87, 162, 260
and dreams, 25, 41–42
and forgetting, 79
loss of, 49–50, 93, 96, 98, 104
and music, 163, 169
postwar America’s crisis of, 104, 105
reliability of, 106–7
and trauma, 22, 23, 104. See also amnesia
Men, The, 272n30
Mercer, Johnny, 156, 273n6
Meredyth, Bess, 188
metonymy, 22, 24–25, 41, 43, 265n9