10 min read
Film noir reflects the socio-political climate of 1940s and 1950s America through its distinct use of lighting techniques, mainly those that produce a chiaroscuro effect. This cinematic effect is characterized by strong contrasts between light and shadow, depicting the paranoia felt in a post-World War II society. The genre often portrays themes of disillusionment and moral ambiguity, which are reinforced through the usage of low-key lighting. The technique uses a low-level of lighting to highlight the shadows on the actor’s face, creating a dramatic and often moody atmosphere. Instead of functioning as a purely aesthetic choice, low-key lighting acts as a visual response to the anxieties of the time period. Through an analysis of shadows and contrast in Casablanca, Double Indemnity and Rear Window, I will examine how Film noir visually reflects the cultural atmosphere of America in the 1940’s and 50’s.
In the film Casablanca, low-key lighting is used to construct a world that is clouded by moral ambiguity and emotional tension, in which characters are partially covered by shadows and strong contrasts between light and dark. This is shown throughout the film but particularly in the cafe scenes. During the scene in which a Spanish singer is performing a sorrowful melody, there are two different usages of low-key lighting. The scene starts with a Spanish singer centered in the frame with the light focused on her. Sam, the black piano player, is shrouded in darkness as he plays music beside her while glancing behind himself to look at Ilsa who abandoned Rick in Paris (30:10). This contrast is continued as half of Ilsa’s face is covered in shadow, while Victor’s face is fully lit. As Victor leaves, the camera focuses on a medium shot of Ilsa’s face, which becomes increasingly shadowed by darkness, reinforcing the internal struggle she has regarding the situation (30:28-30:49). Victor and the Spanish singer are depicted as fully lit because they represent a form of emotional purity that is not clouded by confusion or guilt. Conversely, although Sam and Ilsa are in different situations, they share the same emotional turmoil and are therefore covered in darkness. Furthermore, the scene highlights the hidden tension felt in a society obscured by uncertainty and mistrust. Not only does lighting reveal the psychological conflict of characters, but it also acts as a visual cue to identify a character’s morality. This is further reflected in the interactions between Rick and Ilsa. As Ilsa enters the cafe, Rick is drinking by himself – the scene transitions into a two-shot of the backside of Rick’s face covered in darkness, while Ilsa is fully illuminated (49:45-50:00). Rick speaks to Ilsa in a very cynical tone, showing his discontent toward her, while Ilsa can be described as glowing in comparison to Rick as she attempts to explain her side of the story. There is no objective truth in their society, yet the moral beliefs of the characters are revealed through the chiaroscuro effect created. The atmosphere is dense and foreboding, as if the tension were to snap at any moment. In this scene, Rick and Ilsa are unable to connect with each other because the lighting situates them in opposing spectrums of light and dark. In contrast, when Ilsa visits Rick at night, unbeknownst to Victor, they embrace each other in the darkness that covers both of their faces (1:22:42). This scene does not suggest that both Rick and Ilsa are morally corrupt; it shows that they now share the emotional weight of their actions. This use of shadow reflects the emotional complexity of the film and the motives of the characters. Through these visual techniques, low-key lighting does not serve as just an aesthetic choice, but a reflection of the uncertainty and emotional ambiguity parallel to the socio-political climate during the time period
In Double Indemnity, low-key lighting is used in a very direct manner, emphasizing the moral corruption and inevitable ruin of the characters. This is shown throughout the film in the portal of Phyllis, whose face is partially covered in shadow, specifically when discussing the murder of her husband. During the conversation about past insurance fraud cases, the scene transitions into a medium close shot of Phyllis whose face is shrouded in darkness. As the perspective is focused on her, she states, “perhaps it was worth it to her” in response to a story about a woman who didn’t get away with murdering her husband (26:22-26:30). The lighting in this scene does not simply situate Phyllis as morally corrupt; it creates distance between her emotional state and relation to Walter. Walter’s experience in the subject presents a neutral perspective, while Phyllis, the femme fatale is naturally connected with the concept of danger. The lighting makes her words and motives unreadable and somewhat manipulative which draws in Walter. It reinforces the dynamic between them because Walter is attracted to what he cannot understand or fully see while Phyllis, who is depicted in darkness, is in control of the situation. He is unable to see her, or past her actions, making the encounter more entrancing. The complexity of their power balance is highlighted in the scene after they successfully kill Phyllis’s husband. As they sit in the car after their escape, they embrace each other with only half of their faces being portrayed in the light (58:47-58:57). This scene suggests that their relationship has become more leveled because the darkness engulfs both. Furthermore, the separation of identity and emotional state is further developed in the film because of the sense of impending doom that is created by the contrast in lighting. As Walter walks outside to cover his tracks, his figure is partially shadowed as he states, “I couldn’t hear my own footsteps, it was the walk of a dead man” (1:00:02-1:00:20). This detachment between identity and morality indicates a loss of control that leads them to their doom. While the narrative allows him to reflect on his actions, the low-key lighting presents a visual representation of his internal state. The anxiety portrayed by Walter is a reflection of the time period, embodying the atmospheric pressure of living within a culture of secrecy and surveillance. Throughout the film there is a sense of inevitability that is reinforced by the frame narrative which uses a distinct portrayal of low-key lighting. It frames Walter in shadow and highlights the increasingly dark shadow that has grown throughout the narrative, visually reinforcing his inevitable downfall. This stark contrast allows the audience to view Walter’s moral decline throughout the film, which in turn transforms the lighting into an active tool that structures the narrative and visually separates emotions from the characters.
In Rear Window, low-key lighting is used as a tool to build suspense and reveal the obscurity that defines people’s lives in an era of surveillance. This is shown throughout the film, but particularly in the scenes focused on Thorwald. He is often depicted in almost complete darkness, only illuminated by the glow of his cigarettes. This is most prominently shown when one of the neighbor’s dog is mysteriously killed and left out for the neighborhood to see. From the perspective of Jeff, everyone’s lights are turned on to see what happened while Thorwald’s room is shown in complete darkness – with only the glow from his cigarette being shown ( 1:25:02). This suggests that Thorwald’s morality is parallel to being observed. When he is shown in complete light, he is perceived to be like any other person, in contrast, when he is shrouded in darkness, he becomes an enigma whose motives are unknown. The cigarette being the focal point of low-key lighting reveals how darkness obscures his actions. His presence is therefore hidden, reinforcing the sense of uncertainty and suspicion that is caused by the scene. Furthermore, the chiaroscuro effect is very prominent in the film because of the stark contrast between light and dark, reflecting the obscurity that encompasses their society. This is especially portrayed in the scene where Thorwald has discovered Jeff is spying on him and enters his apartment room. As Thorwald enters the room, his face is partially shadowed with only his eyes being highlighted, while Jeff’s body is completely covered in the dark (1:47:20-1:47:33). The lighting is used to reveal Thorwald’s actions as Jeff flashes his camera at the shadowed figure of Thorwald, providing a stark contrast to the darkness that once hid his face and motives. In Visual “Drive” and Cinematic Narrative: Reading Gaze Theory in Lacan, Hitchcock, and Mulvey, Manlove states that “mere light cannot disrupt the path and power of the gaze.” Contrary to this idea, lights serves as a method of identification that does not simply reflect the morality of the characters but highlights the confidentiality that is kept in society. The film reflects the idea that there can be no true obscurity or secrecy because although everyone attempts to keep themselves hidden, everything will be revealed in one way or another.
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