Editing Film noir (section)

===1980s and 1990s===
[[File:StoneSmoking.jpg|thumb|alt=A blonde woman wearing a white jacket, top, and short skirt, her face half in shadow, sitting in an arm chair with her legs crossed. She holds a cigarette to her mouth with her right hand, and raises a lighter with her left. Behind her is dark furniture and the corner of the room, walled with white brick. From between the furniture and walls, unseen, floor-level lights cast a bluish glow over the scene.|[[Sharon Stone]] as [[Catherine Tramell]], archetypal modern [[femme fatale]], in ''[[Basic Instinct]]'' (1992). Her diabolic nature is underscored by an "extra-lurid visual code", as in the notorious interrogation scene.<ref name=W209>Williams (2005), p. 229.</ref>]]

The turn of the decade brought Scorsese's black-and-white ''[[Raging Bull]]'' (1980, cowritten by Schrader). An acknowledged masterpiece{{--}}in 2007 the [[American Film Institute]] ranked it as the greatest American film of the 1980s and the fourth greatest of all time{{--}}it tells the story of a boxer's moral self-destruction that recalls in both theme and visual ambiance noir dramas such as ''[[Body and Soul (1947 film)|Body and Soul]]'' (1947) and ''[[Champion (1949 film)|Champion]]'' (1949).<ref>For AFI ranking, see {{cite web|url=http://www.afi.com/100Years/movies10.aspx|title=AFI's 100 Years&nbsp;... 100 Movies—10th Anniversary Edition|publisher=American Film Institute|year=2007|access-date=2012-04-19|archive-date=2012-06-04|archive-url=https://archive.today/20120604135712/http://www.afi.com/100years/movies10.aspx|url-status=live}} For kinship to classic noir boxing films, see Muller (1998), pp. 26–27.</ref> From 1981, ''[[Body Heat]]'', written and directed by [[Lawrence Kasdan]], invokes a different set of classic noir elements, this time in a humid, erotically charged Florida setting. Its success confirmed the commercial viability of neo-noir at a time when the major Hollywood studios were becoming increasingly risk averse. The mainstreaming of neo-noir is evident in such films as ''[[Black Widow (1987 film)|Black Widow]]'' (1987), ''[[Shattered (1991 film)|Shattered]]'' (1991), and ''[[Final Analysis]]'' (1992).<ref>Silver and Ward (1992), pp. 400–1, 408.</ref> Few neo-noirs have made more money or more wittily updated the tradition of the noir double entendre than ''[[Basic Instinct]]'' (1992), directed by [[Paul Verhoeven]] and written by [[Joe Eszterhas]].<ref>See, e.g., Grothe, Mardy, ''Viva la Repartee: Clever Comebacks and Witty Retorts from History's Great Wits & Wordsmiths'' (2005), p. 84.</ref> The film also demonstrates how neo-noir's polychrome palette can reproduce many of the expressionistic effects of classic black-and-white noir.<ref name=W209 />

Like ''Chinatown'', its more complex predecessor, [[Curtis Hanson]]'s Oscar-winning ''[[L.A. Confidential (film)|L.A. Confidential]]'' (1997), based on the [[James Ellroy]] novel, demonstrates the opposite tendency—the deliberately retro film noir; its tale of corrupt cops and femmes fatale is seemingly lifted straight from a film of 1953, the year in which it is set.<ref>Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141.</ref> Director [[David Fincher]] followed the immensely successful neo-noir ''[[Seven (1995 film)|Seven]]'' (1995) with a film that developed into a cult favorite after its original, disappointing release: ''[[Fight Club]]'' (1999), a ''[[sui generis]]'' mix of noir aesthetic, perverse comedy, speculative content, and satiric intent.<ref>Wager (2005), p. 101–14.</ref>
{{listen|filename=Dub Driving Sample from Lost Highway CD (Interscope Records).ogg|title="Dub Driving"| description= [[Angelo Badalamenti]] has scored most of [[David Lynch]]'s noir-related work. His work on this track typifies a "modern noir" style, which the director explicitly sought for ''[[Lost Highway (film)|Lost Highway]]'' (1997).<ref>Lynch and Rodley (2005), p. 241.</ref>}}
Working generally with much smaller budgets, brothers [[Joel and Ethan Coen]] have created one of the most extensive oeuvres influenced by classic noir, with films such as ''[[Blood Simple]]'' (1984)<ref>{{cite magazine |url=https://www.newyorker.com/magazine/1985/02/25/plain-and-simple |title=The Current Cinema: PLAIN AND SIMPLE |magazine=[[The New Yorker]] |first=Pauline |last=Kael |authorlink1=Pauline Kael |date=February 17, 1985 |accessdate=March 21, 2024}}</ref> and ''[[Fargo (1996 film)|Fargo]]'' (1996), the latter considered by some a supreme work in the neo-noir mode.<ref>Hirsch (1999), pp. 245–47; Maslin (1996).</ref> The Coens cross noir with other generic traditions in the gangster drama ''[[Miller's Crossing]]'' (1990)—loosely based on the Dashiell Hammett novels ''Red Harvest'' and ''[[The Glass Key]]''—and the comedy ''[[The Big Lebowski]]'' (1998), a tribute to Chandler and an homage to Altman's version of ''The Long Goodbye''.<ref>For ''Miller's Crossing'', see Martin (1997), p. 157; Naremore (2008), p. 214–15; {{cite news|author=Barra, Allen|url=http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html|title=From 'Red Harvest' to 'Deadwood'|work=Salon|date=2005-02-28|access-date=2009-09-29|url-status=dead|archive-url=https://web.archive.org/web/20100330053905/http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html|archive-date=2010-03-30}} For ''The Big Lebowski'', see Tyree and Walters (2007), pp. 40, 43–44, 48, 51, 65, 111; Ballinger and Graydon (2007), p. 237.</ref> The characteristic work of [[David Lynch]] combines film noir tropes with scenarios driven by disturbed characters such as the sociopathic criminal played by [[Dennis Hopper]] in ''[[Blue Velvet (film)|Blue Velvet]]'' (1986) and the delusionary protagonist of ''[[Lost Highway (film)|Lost Highway]]'' (1997). The ''Twin Peaks'' cycle, both the [[Twin Peaks|TV series]] (1990–91) and a film, ''[[Twin Peaks: Fire Walk with Me|Fire Walk with Me]]'' (1992), puts a detective plot through a succession of bizarre spasms. [[David Cronenberg]] also mixes surrealism and noir in ''[[Naked Lunch (film)|Naked Lunch]]'' (1991), inspired by [[William S. Burroughs]]' [[Naked Lunch|novel]].

Perhaps no American neo-noirs better reflect the classic noir B movie spirit than those of director-writer [[Quentin Tarantino]].<ref>James (2000), pp. xviii–xix.</ref> Neo-noirs of his such as ''[[Reservoir Dogs]]'' (1992) and ''[[Pulp Fiction]]'' (1994) display a relentlessly self-reflexive, sometimes tongue-in-cheek sensibility, similar to the work of the New Wave directors and the Coens. Other films from the era readily identifiable as neo-noir (some retro, some more au courant) include director [[John Dahl]]'s ''[[Kill Me Again]]'' (1989), ''[[Red Rock West]]'' (1992), and ''[[The Last Seduction]]'' (1993); four adaptations of novels by Jim Thompson—''[[The Kill-Off]]'' (1989), ''[[After Dark, My Sweet]]'' (1990), ''[[The Grifters (film)|The Grifters]]'' (1990), and the remake of ''[[The Getaway (1994 film)|The Getaway]]'' (1994); and many more, including adaptations of the work of other major noir fiction writers: ''[[The Hot Spot]]'' (1990), from ''Hell Hath No Fury'', by [[Charles Williams (U.S. author)|Charles Williams]]; ''[[Miami Blues]]'' (1990), from the novel by [[Charles Willeford]]; and ''[[Out of Sight (1998 film)|Out of Sight]]'' (1998), from the novel by [[Elmore Leonard]].<ref name=rough279/> Several films by director-writer [[David Mamet]] involve noir elements: ''[[House of Games]]'' (1987), ''[[Homicide (1991 film)|Homicide]]'' (1991),<ref name="criterion.com">{{cite web| url = https://www.criterion.com/shop/collection/17-noir-and-neonoir| title = Noir and Neonoir{{!}}The Criterion Collection| access-date = 2020-02-15| archive-date = 2020-02-15| archive-url = https://web.archive.org/web/20200215014638/https://www.criterion.com/shop/collection/17-noir-and-neonoir| url-status = live}}</ref> ''[[The Spanish Prisoner]]'' (1997), and ''[[Heist (2001 film)|Heist]]'' (2001).<ref>See, e.g., Silver and Ward (1992), pp. 398, 402, 407, 412.</ref> On television, ''[[Moonlighting (TV series)|Moonlighting]]'' (1985–89) paid homage to classic noir while demonstrating an unusual appreciation of the sense of humor often found in the original cycle.<ref name=rough279>Ballinger and Graydon (2007), p. 279.</ref> Between 1983 and 1989, [[Mickey Spillane]]'s hardboiled private eye Mike Hammer was played with wry gusto by [[Stacy Keach]] in a [[Mickey Spillane's Mike Hammer (1984 TV series)|series]] and several stand-alone television films (an unsuccessful revival followed in 1997–98). The British miniseries ''[[The Singing Detective]]'' (1986), written by [[Dennis Potter]], tells the story of a mystery writer named Philip Marlow; widely considered one of the finest neo-noirs in any medium, some critics rank it among the greatest television productions of all time.<ref>Creeber, (2007), p. 3. ''The Singing Detective'' is the sole TV production cited in {{cite news|author1=Corliss, Richard |author2=Richard Schickel |url=http://www.time.com/time/2005/100movies/the_complete_list.html |title=All-Time 100 Movies |publisher=[[Time (magazine)|Time]] |date=2005-05-23 |access-date=2009-09-29 |archive-url=https://web.archive.org/web/20100312021319/http://www.time.com/time/2005/100movies/the_complete_list.html |archive-date=2010-03-12 |url-status=dead}}</ref>