Editing Film noir (section)

===1960s and 1970s===
While it is hard to draw a line between some of the noir films of the early 1960s such as ''[[Blast of Silence]]'' (1961) and ''[[Cape Fear (1962 film)|Cape Fear]]'' (1962) and the noirs of the late 1950s, new trends emerged in the post-classic era. ''[[The Manchurian Candidate (1962 film)|The Manchurian Candidate]]'' (1962), directed by [[John Frankenheimer]], ''[[Shock Corridor]]'' (1963), directed by [[Samuel Fuller]], and ''[[Brainstorm (1965 film)|Brainstorm]]'' (1965), directed by experienced noir character actor [[William Conrad]], all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir.<ref name=u284286/> ''The Manchurian Candidate'' examined the situation of [[Korean War POWs detained in North Korea|American prisoners of war]] (POWs) during the [[Korean War]]. Incidents that occurred during the war as well as those post-war functioned as an inspiration for a "Cold War Noir" subgenre.<ref>{{cite web |url=http://www.koreanconfidential.com/koreanpowfilmnoir.html |title=Cold War Noir and the Other Films about Korean War POWs |access-date=2013-03-31|url-status=dead |archive-url=https://web.archive.org/web/20130218203603/http://www.koreanconfidential.com/koreanpowfilmnoir.html |last=Sautner|first=Mark|archive-date=2013-02-18}}</ref><ref name="Conway">{{cite web |url=http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753 |title=Korean War Film Noir: the POW Movies |last=Conway |first=Marianne B. |access-date=2013-03-31 |url-status=dead |archive-url=https://web.archive.org/web/20130217064144/http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753 |archive-date=2013-02-17}}</ref> The television series ''[[The Fugitive (1963 TV series)|The Fugitive]]'' (1963–67) brought classic noir themes and mood to the small screen for an extended run.<ref name=u284286>Ursini (1995), pp. 284–86; Ballinger and Graydon (2007), p. 278.</ref>

[[File:1BelmondoDoesBogey.jpg|thumb|left|alt=Black-and-white image of a man seen from mid-chest up, wearing a fedora and a jacket with a houndstooth-like pattern. He holds a cigarette between the middle and index fingers of his left hand and strokes his upper lip with his thumb. He stands in front of what appears to be a mirrored doorway.|As car thief Michel Poiccard, a.k.a. Laszlo Kovacs, [[Jean-Paul Belmondo]] in ''[[Breathless (1960 film)|À bout de souffle]]'' (''Breathless''; 1960). Poiccard reveres and styles himself after [[Humphrey Bogart]]'s screen persona. Here he imitates a characteristic Bogart gesture, one of the film's [[Motif (narrative)|motifs]].<ref>Appel (1974), p. 4.</ref>]]
In a different vein, films began to appear that self-consciously acknowledged the conventions of classic film noir as historical [[archetypes]] to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir.<ref>Ballinger and Graydon (2007), p. 41.</ref> Though several late classic noirs, ''[[Kiss Me Deadly]]'' (1955) in particular, were deeply self-knowing and post-traditional in conception, none tipped its hand so evidently as to be remarked on by American critics at the time.<ref>See, e.g., ''Variety'' (1955). For a latter-day analysis of the film's self-consciousness, see Naremore (2008), pp. 151–55. See also Kolker (2000), p. 364.</ref> The first major film to overtly work this angle was French director [[Jean-Luc Godard]]'s ''[[À bout de souffle]]'' (''Breathless''; 1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day.<ref>Greene (1999), p. 161.</ref> In the United States, [[Arthur Penn]] (1965's ''[[Mickey One]]'', drawing inspiration from Truffaut's ''[[Shoot the Piano Player|Tirez sur le pianiste]]'' and other [[French New Wave]] films), [[John Boorman]] (1967's ''[[Point Blank (1967 film)|Point Blank]]'', similarly caught up, though in the ''[[French New Wave|Nouvelle vague']]''s deeper waters), and [[Alan J. Pakula]] (1971's ''[[Klute]]'') directed films that knowingly related themselves to the original films noir, inviting audiences in on the game.<ref>For ''Mickey One'', see Kolker (2000), pp. 21–22, 26–30. For ''Point Blank'', see Ballinger and Graydon (2007), pp. 36, 38, 41, 257. For ''Klute'', see Ballinger and Graydon (2007), pp. 114–15.</ref>

A manifest affiliation with noir traditions—which, by its nature, allows different sorts of commentary on them to be inferred—can also provide the basis for explicit critiques of those traditions. In 1973, director [[Robert Altman]] flipped off noir piety with ''[[The Long Goodbye (film)|The Long Goodbye]]''. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in [[iconoclasm|iconoclastic]] fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary [[mores]] and morality.<ref>Kolker (2000), pp. 344, 363–73; Naremore (2008), pp. 203–5; Ballinger and Graydon (2007), pp. 36, 39, 130–33.</ref> Where Altman's subversion of the film noir mythos was so irreverent as to outrage some contemporary critics,<ref>Kolker (2000), p. 364; Ballinger and Graydon (2007), p. 132.</ref> around the same time [[Woody Allen]] was paying affectionate, at points idolatrous homage to the classic mode with ''[[Play It Again, Sam (1972 film)|Play It Again, Sam]]'' (1972). The "[[blaxploitation]]" film ''[[Shaft (1971 film)|Shaft]]'' (1971), wherein [[Richard Roundtree]] plays the titular African-American private eye, [[John Shaft]], takes conventions from classic noir.

The most acclaimed of the neo-noirs of the era was director [[Roman Polanski]]'s 1974 ''[[Chinatown (1974 film)|Chinatown]]''.<ref>{{Cite news|url=https://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html|title=10 best neo-noir films of all time: From Chinatown to LA Confidential|author=Ross, Graeme|date=March 11, 2019|publisher=[[The Independent]]|website=independent.co.uk|access-date=August 27, 2017|archive-date=January 22, 2018|archive-url=https://web.archive.org/web/20180122113842/http://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html|url-status=live}}</ref> Written by [[Robert Towne]], it is set in 1930s Los Angeles, an accustomed noir locale nudged back some few years in a way that makes the pivotal loss of innocence in the story even crueler. Where Polanski and Towne raised noir to a black apogee by turning rearward, director [[Martin Scorsese]] and screenwriter [[Paul Schrader]] brought the noir attitude crashing into the present day with ''[[Taxi Driver]]'' (1976), a crackling, bloody-minded gloss on bicentennial America.<ref>Kolker (2000), pp. 207–44; Silver and Ward (1992), pp. 282–83; Naremore (1998), pp. 34–37, 192.</ref> In 1978, [[Walter Hill (filmmaker)|Walter Hill]] wrote and directed ''[[The Driver]]'', a chase film as might have been imagined by Jean-Pierre Melville in an especially abstract mood.<ref>Silver and Ward (1992), pp. 398–99.</ref>

Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director [[Sam Peckinpah]]'s ''[[The Getaway (1972 film)|The Getaway]]'' (1972), adapting a novel by pulp master [[Jim Thompson (writer)|Jim Thompson]], as well as for two tough private eye films: an original screenplay for ''[[Hickey & Boggs]]'' (1972) and an adaptation of a novel by [[Ross Macdonald]], the leading literary descendant of Hammett and Chandler, for ''[[The Drowning Pool (film)|The Drowning Pool]]'' (1975). Some of the strongest 1970s noirs, in fact, were unwinking remakes of the classics, "neo" mostly by default: the heartbreaking ''[[Thieves Like Us (film)|Thieves Like Us]]'' (1974), directed by Altman from the same source as Ray's ''They Live by Night'', and ''[[Farewell, My Lovely (1975 film)|Farewell, My Lovely]]'' (1975), the Chandler tale made classically as ''Murder, My Sweet'', remade here with Robert Mitchum in his last notable noir role.<ref>For ''Thieves Like Us'', see Kolker (2000), pp. 358–63. For ''Farewell, My Lovely'', see Kirgo (1980), pp. 101–2.</ref> Detective series, prevalent on American television during the period, updated the hardboiled tradition in different ways, but the show conjuring the most noir tone was a horror crossover touched with shaggy, ''Long Goodbye''-style humor: ''[[Kolchak: The Night Stalker]]'' (1974–75), featuring a Chicago newspaper reporter investigating strange, usually supernatural occurrences.<ref>Ursini (1995), p. 287.</ref>