Spoiler Warning – this article contains major spoilers for Blade Runner, Ghost in the Shell and Minority Report.

Identity

Who are we? How do we know who we are? How do we know who someone else is? Who and what can we trust? In Blade Runner humans have constructed replicants, virtually identical to humans but stronger, needing a complicated one-on-one test to determine who is who. These replicants work as forced labour on off-world colonies, desperate to escape. Even more, it is revealed the new replicants have been given memories so they think they’re human. In Ghost In The Shell “ghosts” can be moved into new cyborg bodies and ghosts can even combine to become a new identity. Identity is a common theme of noir, sci-fi and the mixing of the two. While classic noirs are not as overt questions of identity are constantly raised – we have private detectives, criminals, victims, police, authority figures and a character’s status in these groups is important and changes constantly.

Trust

Who do you trust and should you trust them? Noir detectives venture into the criminal world but it’s not just their obvious antagonists who they need to worry about. The classic opening of a noir film is a “dame” seeking help from the private detective and how often do we learn this person is actually manipulating the detective? In Blade Runner, the question of trust is on another level. Can Deckard trust the police? Can he trust passers-by who might be replicants? Then can he even trust himself? Can he trust his own memory? Is he a replicant programmed with decades worth of memories? Maybe. Kusanagi in Ghost in the Shell has similar problems, plots within plots, foreign agents, her superiors, everyone around her – who is there to trust?

In Minority Report Tom Cruise plays a police officer running the pre-cog crime unit, where they glimpse the future and then stop the crime. When Cruise’s character is said to be a criminal he suspects that it is Colin Farrell’s character who has betrayed him, a sceptical outside investigator, when, in fact, it is his mentor, determined to see the pre-cog crime unit succeed. A recurring theme of noir films is realising the one person you put absolute trust in is your real enemy.

Morally Grey

Deckard is the good guy in Blade Runner. He is the protagonist, we follow his story, essentially a detective and cop, he’s played by all-time hero Harrison Ford. But Deckard’s job is to kill replicants who have made it to Earth. Sometimes that is the only crime they have committed. They are intelligent creatures, easily the equal of any human in the complexity of thought and they are “retired” without trial or hesitation. Why is Deckard the good guy? In Minority Report Farrell’s character specifically questions the fairness and justice of the pre-cog system, people are charged with crimes they have not actually committed. In the city there have been no murders in two years, is that proof of success? The incredibly dedicated Cruise upon being determined a pre-criminal himself then goes on the run, refusing to believe that this prediction is right…because this time it’s him.

Visuals

Blade Runner and Ghost in the Shell are rightly famous for the way they look, both are iconic. Despite being set in LA which we now think of as a land of permanent sun Blade Runner LA is dark, grimy and usually raining. It also has the unusual oxymoron of managing to be both dark and bright, dark skies lit up by fiercely bright advertisements. Ghost in the Shell has a tall and vast city that is constantly looming over everything, something impossible to escape or even ignore. Perhaps this is just the passage of time (we are past the date Blade Runner is set in) but their examples of sci-fi often seem positively low-tech. The computer monitors in Blade Runner would be laughed at now, Ghost in the Shell and its endless cables as a sign of tech likewise seems odd.

As time goes by and those classic noir films get further and further away how will this odd blend of genres evolve? Some of these sci-fi noir films are over forty years old, generations of filmmakers will have grown up on these films and will surely have something to contribute.

Also Read: Animated Horror: The Overlooked Genre Fusion

The post Exploring Sci-Fi Noir: How Blade Runner and Ghost in the Shell Define the Sub-Genre appeared first on Big Picture Film Club.

Synopsis

While taking on a job for “Ruth Wonderly” (Mary Astor) private detective Miles Archer (Jerome Cowan) is killed. His partner Sam Spade (Humphrey Bogart) then finds himself at the centre of a dangerous game. The police suspect he killed Miles. And Brigid O’Shaughnessy, (Ruth’s real name), is revealed to be involved with a gang of colourful mobsters. The dangerously unassuming Joel Cairo (Peter Lorre), the imposing Kasper Gutman (Sydney Greenstreet), and the vicious Wilmer Cook (Elisha Cook Jr.). All believe Sam has the legendary Maltese Falcon. A figure with a value the mobsters place far above any human life. Who can Sam trust and will he make it out alive?

What Did I like?

What’s impressive about The Maltese Falcon is how it transcends its limits. Although taking place mostly in hotel rooms and offices the story feels much bigger. This is largely thanks to the superbly gloomy music which adds great heft to proceedings. Along with the well-written plot and rapid-fire dialogue that constantly introduces something new for us to chew on and keeps the pace fast enough to keep us interested.

Another potential issue is that the film has a lot of elements to keep track of. And a lot of critical plot information isn’t shown but relayed to us through other characters. This could leave people feeling very confused or frustrated. But this choice makes it feel like we are truly experiencing the movie through Sam’s eyes (certain scenes like Miles’ death notwithstanding). Making the experience even more engaging.

Lastly, the film’s over-reliance on dialogue could have felt very lazy. But The Maltese Falcon overcame this by making its dialogue punchy and entertaining and hiring a stellar cast to deliver it. Peter Lorre and Elisha Cook Jr. are great as the wannabe big shots always getting shown up. Sydney Greenstreet delivers some stellar monologues. Mary Astor is a fantastic enigma who succeeds at being both feisty and vulnerable. But the movie’s undisputed MVP is Humphrey Bogart. Sam Spade could have come across as a truly insufferable thug. But Bogart makes him a magnetic presence. His hard-boiled dialogue delivery feels as fitting as Laurence Olivier reading Shakespeare. And his self-assured image makes him look effortlessly cool along with making the rare successful rug pulls feel satisfying. Bogart arguably is what makes the Maltese Falcon a classic.

This coupled with the sparse use of beautiful shadowy imagery shows why the film hugely impacted generations of filmmakers.

What Did I Not Like?

Of course, after 80 years there are definitely places where the film shows its age. Like many older films, a few of the action scenes are awkwardly staged and become unintentionally comedic. Either because of the chosen angles or the choreography. Similarly, some of the actors occasionally are a little overdramatic which renders the scenes humorous rather than impactful.

There is also some rather unfortunate subtext here, modern audiences may see the film as slightly homophobic, sexist, and derogatory towards larger people because of how the villains are codified and the way the film treats many of the female leads. And while Sam is flawed he is presented more favourably than everyone else. Who are shown as pitiable, untrustworthy cowards for being who they are (villains) or objects to be used for Sam’s benefit (female cast).

Finally, the narrative does lack emotional weight. Sam is always in control of the situation, even quickly regaining control after the rare successful rug pull. Therefore it’s hard to feel any tension for his situation. And the supposed romance between Sam and Brigid is somewhat hard to buy as Sam is consistently aware of how manipulative Brigid is. Because of this the romantic tension never feels genuine and prevents audiences from engaging with it.

Verdict

Like the central MacGuffin, the Maltese Falcon is an old beast. Some of its attitudes may put off modern audiences, some of the staging and acting choices seem comical now and those wanting an emotionally enthralling story may find the movie’s hard coating alienating.

However, like the central bird, it is built to last. Having a solid if slightly confusing plot bolstered by sparkling dialogue, great music, and an incredible cast, with Bogart being its shining jewel. Despite some imperfections, it remains a film milestone for good reason. It is the stuff that noir is made of.

Rating: (3.5 / 5)

Also Read: Retro Review: Frankenstein (1931)

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