thinks that humans decide what they want to be through their own actions. Sartre believes people become more human by developing emotions over time.
The Bourne Identity 2002 and Memento 2000 are examples of present neo-noir where the protagonists suffer from amnesia or deal with self-discovery like in other neo-noir
works. As traditional noir has detective characters who go after criminals to solve cases, instead of trying to do a self-discovery or reconcile amnesia although there are various
traditional noir stories with amnesiac characters after WWII related to wartime veterans who suffer from psychological problems, the detectives are still trapped in the noir world they
live. This theme is also found in neo-noir films, as protagonist characters or detectives may go through some kind of self discovery, but ultimately they are unable to complete a self-
discovery or many questions will still remain.
4.8 Portrayals of Classic and Neo-Noir
Just as traditional noir films were influenced by social incidents like World War II, the Cold War, and the atomic era later, neo-noir films were also influenced by the Vietnam
War, the John F. Kennedy and Martin Luther King assassinations, Watergate, and more modern problems dealing with economic issues and terrorism. Therefore, historical factors
have played a role in influencing the development of noir and neo-noir films. A primary difference between neo-noir and classic noir is that characters in neo-noir
can sometimes triumph over or control the noir world they live in. An example can be seen in the film Silence of the Lambs, where serial killer Hannibal Lecter is in control of his
surroundings, even when he is imprisoned it is because he chooses to be there. Next, in Reservoir Dogs, the characters can engage in mayhem killings without any real consequence.
In classic noir, such kinds of characters would have to atone for their sins and crimes or meet their doom.
Similar with Plato in The Republic and Marx in various writings, classic noir also portrays the concept that when individuals are obsessed with wealth it can threaten justice
and social order. This is in response to the social and cultural changes in a post WWII society. Similar with that, neo-noir has also made criticisms on corporate capitalism in
response to dismay over the Vietnam War, the Watergate scandal, and recessions. In these kinds of criticisms on capitalism, wealth is not shown in a glamorous light like in the movie
Chinatown. In considering the neo-noir film Chinatown 1974 which takes place in Los Angeles
in the 1930s, this story deals with a private detective, Jake Gittes played by Jack Nicholson who is hired by a woman played by Diane Ladd to investigate an engineer, Hollis Mulwray
played by Darrell Zwerling. Surrounded by various kinds of crimes and criminals, Gittes can be classified as a noir detective but somewhat different from Philip Marlowe of the mid-
20
th
century. Gittes is a capable detective in various aspects, but he cannot traverse the noir world as easily as Philip Marlowe. Gittes also does not have as many admirable traits as
Marlowe, which can make Gittes seem more realistic in representing what a true detective may be like in the real world. Gittes also has difficulty going up against the corruption and
seems to be better off not trying to change everything. Various neo-noir films also have a theme of reminiscing about the past and worrying
about the future, while trying to figure out how to get by in their present chaotic world. One such example is Martin Scorsese’s Taxi Driver 1976, starring Robert De Niro as Travis
Bickle. The traditional noir characteristics of having nostalgia, feeling lost, and being insecure can be transposed to this film as well. Here, the anti-hero Travis Bickle is a Vietnam
War veteran who has returned from the Vietnam War and works as a taxi driver. He is disgusted by the city he lives in and thinks someone needs to clean the whole city up. This is
reminiscent of classic noir films with WWII veterans who return to their society and are disillusioned and cannot adjust. In describing what his life is like as a taxi driver, Travis says
to himself in a 1
st
person narration just like in classic noir films, “All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday
a real rain will come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take em to Harlem. I dont care. Dont make no difference to me. It does
to some. Some won’t even take spooks. Don’t make no difference to me.” In another part of the movie, Travis talks about what his neo-noir world is like to live in. “Loneliness has
followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There’s no escape. I’m God’s lonely man.” He also says related to the city’s condition, “I
think someone should just take this city and just... just flush it down the fuckin’ toilet.” Typical classic noir anti-heroes also live lonely lives, especially detectives. In Taxi Driver,
Travis Bickle is a sexually repressed and paranoid individual, which can be seen in how he lives and interacts with others. He is portrayed as a psychologically disturbed person full of
anger towards the society he lives in, and unable to adjust to this undesirable world. He has an existential worldview full of pessimism and anguish trying to navigate his way through
this neo-noir world. Therefore, this movie has many parallels with classic noir productions. The character also has a sort of spiritual awakening or self-realization at the end of the film,
similar with Frank Chambers in The Postman Always Rings Twice and Monsieur Meursault in The Stranger.
4.9 Manifestations of Noir Today 4.9.1 Modern Cultural Manifestations of Noir
