The 5th Annual Davies Awards in Film

A Look Back at 2010:

In 2009, Hollywood went to war and for the most part blew us away if not with the actual quality of their output, with their audacity at least.  In 2010 they took a deep breath and dove back into the shadows and dark alleys of the mind.  It was the year of the Neo-Noir Renaissance.

Beethoven’s Symphony No. 7 (2nd movement) is probably one of the most recognizable and widely used pieces of classical music.  Filmmakers have returned to it over and over again – Tom Hooper just did for the excellent closing montage to The King’s Speech.  But I feel this piece of music represents clearly what the 2010 year in film was all about:  dark, brooding, steady, prone to dramatic swells, often formulaic, but very well crafted.  Tell me you don’t see a bit of the same madness in Carlos Kleiber conducting that we saw in Scorsese, Nolan and Aronofsky directing in 2010.

Unlike most years, it started off like gangbusters with two masters delivering wildly entertaining larks that owed as much debt to their own past efforts at they did to Hitchcock:  Martin Scorsese’s “in your face” Shutter Island and Roman Polanski’s more subtle and refined The Ghost Writer.  The trend towards neo-noir continued and reached its zenith in the summer with two polarizingly opposite films:  Debra Granik’s independent and devilishly simple Winter’s Bone and Christopher Nolan’s wickedly complex mega-blockbuster Inception.  Even some of the heavy-hitters at the end of the year, like Darren Aronofsky’s Black Swan or The Coen Brothers’ True Grit owed some debt to noir.

Overall, it was a solid, consistent year for films and a nice way to kick-off a new decade of cinema.  There was nothing earth-shattering or revolutionary, but there were plenty of reasons to be entertained in 2010… Continue reading

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The Neo-Noir Renaissance

Thanks to the slow, cold burn of  Winter’s Bone and the mass-appeal of Inception, 2010 has become the year of the Neo-Noir Renaissance.       

An Idea not spinning out of control...

 

The seeds for this renaissance were planted in 2007 when films that could not be categorized outright as neo-noir but were still “dark as hell” in theme and style (i.e. the dueling banjos that were There Will Be Blood and No Country for Old Men) left the most indelible impressions, if not on mass audiences, then on fellow filmmakers lurking in the shadows.  In my yearly wrap-up, I specifically looked at the grim melodramas not nominated for Best Picture when I said, “Flicks like Zodiac, Eastern Promises, Before the Devil Knows You’re Dead, and Gone Baby Gone point towards a film movement not unlike the film noir of the 1940′s that mirrors America’s anxiety towards the chaotic outside world inward against the intimate settings of neighborhoods and families in stylish and unsettling ways.”  But it wasn’t until 2010 that those seeds planted in 2007 bloomed.       

It started in February, the coldest and most obscure of months — a time of year that is usually an artistic black-hole for film.  Yet it was on the same weekend when two of filmdom’s greatest living masters delivered what appeared to be larks Continue reading