When you look at both Film Noir and Neo-Noir, from the surface they look very similar because they do have two genres that are extremely close. The elements that best exemplify this are the formula of the story, the themes throughout the films, and the types of characters in the films. Although, when you get down to all the tiny details you can see that they are very different. The conventions of these films differ due to creative direction as well as the inherent differences between their genres.
The formula of the films are very similiar. They both hold true to the fatalistic tendencies of both film noir and neo-noir. The development of the stories include the seduction of the male protagonist, which progresses through a large portion, if not most, of the film so that it feels as authentic to the viewer as it does to the protagonist. When the romance hits an obstacle, there is something required of the protagonist that is necessary to allow the lovers to live happily. This act can be murder like in
Double Indemnity, or maybe a confession to murder. I read something that said "The overall goal of the protagonist in both films is to "free" the femme fatale from their loveless marriage. Although the plan is usually first verbalized by the male protagonist, fooling both the audience and the protagonist, the idea of the plan is suggested by the femme fatale." I saw this as very very true, if you look at
Double Indemnity it's exactly like that as we all proobaly already knew. The femme fatales goal is basically to play a reverse psycology on the male protagonist.
There are many between Film Noir and Neo-Noir. Film Noir was born in a time when the United States was recovering from the world war, which caused the moods in the films. The films have one major differnce of course which is that Film Noir are in black and white; Neo-Noir are in color because of the technology differences.
The formula of the films are very similiar. They both hold true to the fatalistic tendencies of both film noir and neo-noir. The development of the stories include the seduction of the male protagonist, which progresses through a large portion, if not most, of the film so that it feels as authentic to the viewer as it does to the protagonist. When the romance hits an obstacle, there is something required of the protagonist that is necessary to allow the lovers to live happily. This act can be murder like in Double Indemnity, or maybe a confession to murder. I read something that said "The overall goal of the protagonist in both films is to "free" the femme fatale from their loveless marriage. Although the plan is usually first verbalized by the male protagonist, fooling both the audience and the protagonist, the idea of the plan is suggested by the femme fatale." I saw this as very very true, if you look at Double Indemnity it's exactly like that as we all proobaly already knew. The femme fatales goal is basically to play a reverse psycology on the male protagonist.
another difference you kinda alluded to when talking about how they are very different is that the content seems drastically different. when i say that i mean that what is dark, twisted and dangerous to the people of the 40's and 50's is no longer something that brings us fear. neo-noir presents a more current form of crime and deception. something i would ask you is "if film noir's moods and content were brought on by the war what brought on neo-noir? was it just trendy or is there evidence of an event, a struggle or economical state to justify those moods?
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