Many would argue, and successfully, that if you were going to see only one movie from the film noir genre, Jacques Tourner's 1947 crime drama Out Of the Past should be it. Before World War II, heroes were heroes, they killed the enemy and protected the ones they loved and their homeland while risking their own life; that’s still the definition of a hero today, but during World War II, something dark was creeping into the idea of the hero, many in film simply call him “the anti-hero,” but that’s not enough, it’s far more complex than that. The “dirty war” American men were fighting was rubbing off on them and they couldn’t be rid of. Tournier’s 1946 classic film noir Out of the Past perfectly illustrates how even if you don’t pull the trigger, just being an accomplice is enough to get you killed because you’re all ready dead.
The opening is a road sign, and each destination is some place in the film where we are going to be taken, except one: Bridgeport, Los Angeles, Lake Tahoe, Reno and Bishop, and it’s the last of these places, named after a religious leader (a bishop who leads a flock) that we are NOT going to visit in the film. Whit (Kirk Douglas) is not “white,” and even though he runs people and the show, and even tells Jeff (Robert Mitchum) that he’s “back in the fold,” (as if Whit’s a shepherd), there is no high spot for moral integrity and that’s the point.
It’s an important illusion the title: Out of the Past makes it sound like it happened years ago, but in fact, it was still taking place. In film noir, there are usually two women, and one of them might only be an ideal (hence, an absent figure from the story line) or it might be that one woman has a dual image, as in The Maltese Falcon, but the reason it’s important is because one woman will symbolize what America was before the war, the ideal, innocent and beautiful; the other woman will be what America had become because of the war and, like Kathie Moffat (Jane Greer) of Out Of the Past, she will claim she had no choice about it, just as America not really having a choice about entering World War II.
Jeff can’t do that to Kathie because, even now as she will say at the end of the story, “she’s running the show” and she’s all ready decided she wants to run off with Jeff she just has to lead him in that direction of making him think it's his idea. When Jeff takes the towel and throws it onto the lamp, knocking it over, Jeff is “putting out the light of reason” that tells him if she used Whit, she’ll use him. When the door flies open and the storm comes in, that’s the door to Jeff’s heart, and he’s let Kathie and the stormy emotions she brings with her in through the front door.
Shane with Alan Ladd in 1953. Yet, there was a lead up to Jeff breaking the glass: when Jeff meets Ann in the woods, the dead branches of the trees casting shadows upon them, showing the cracks and crevices in them better than any dialogue could, because the strain of trying to come out of “the frame” that Whit put on him was cracking Jeff just like the glass he would shatter, and the reports of Jeff killing two men had cracked Ann and her faith in Jeff.
Tourneur did a great job with pacing Kathie’s character for us, specifically her clothes. When we first see her, she’s wearing a white dress and hat, the picture of lovely innocence. When Jeff has gone to Telegraph Hill, after finding Eel's dead body, and hears Kathy on the phone, she’s wearing a sleeveless fur coat, the fur for her animal appetites that Whit’s money provides for and the sleeveless coat because she’s hiding her strength from Jeff and Whit (arms symbolize strength) no one being quite sure how Kathie will “play her hand” because her hand is hidden.
Jim saying he grew up with Ann and fell in love with her when he fixed her roller skates is a clear symbol construction for Ann as the America of our hearts, the America before World War II. Jim, being a police officer, is what Jeff himself should have been, but got turned and ended up with Kathie. Is it a good ending? Yes and no, but it’s not a satisfying ending. It’s not that Kathie and Jeff deserve each other, but they deserve justice, and the failure of the hero being redeemed is the unsatisfactory aspect of the ending, but one that would be employed continuously throughout the next ten years or more. Ann going off with Jim is justice, he’s a good man who loves her.
It can be argued, and I will, that I made a mistake; we do go to Bishop, or at least we have the option of going. In the last shot, when "the boy" is walking away from the camera, he walks towards an old church in the distant background, perhaps one that has been abandoned for years. Are we going to go the direction of Jeff Bailey/Jeff Markham, or will we go the way of the boy, the role we have been given in the film by the director. Out of the Past shows us the consequences of what was happening to the country and the people in the country and it leaves us with that choice that we have to make.
The opening is a road sign, and each destination is some place in the film where we are going to be taken, except one: Bridgeport, Los Angeles, Lake Tahoe, Reno and Bishop, and it’s the last of these places, named after a religious leader (a bishop who leads a flock) that we are NOT going to visit in the film. Whit (Kirk Douglas) is not “white,” and even though he runs people and the show, and even tells Jeff (Robert Mitchum) that he’s “back in the fold,” (as if Whit’s a shepherd), there is no high spot for moral integrity and that’s the point.
Miss Kathie Moffat, played by Jane Greer, one of many successfully wicked femme fatales of the era. What is the essence of the femme fatale, the fatal woman? A dumb man. Instead of being what a woman should be, like Kathie's counterpart Ann, Kathie is the gorgeous woman men want to be a saint, but never will; with looks like hers, she knows she can get away with murder, even several murders, and she almost does. Whereas Kathie leads men into darkness--call her Eve--the women like Ann were trying to lead men back into the light of reason and truth, that's why shadows play such an important role in film noir. Please note how her gloves cover her hands, the symbol of strength, because her strength comes from hiding her strength, and we'll see this again with the fur coat. |
Jeff can’t do that to Kathie because, even now as she will say at the end of the story, “she’s running the show” and she’s all ready decided she wants to run off with Jeff she just has to lead him in that direction of making him think it's his idea. When Jeff takes the towel and throws it onto the lamp, knocking it over, Jeff is “putting out the light of reason” that tells him if she used Whit, she’ll use him. When the door flies open and the storm comes in, that’s the door to Jeff’s heart, and he’s let Kathie and the stormy emotions she brings with her in through the front door.
Shane with Alan Ladd in 1953. Yet, there was a lead up to Jeff breaking the glass: when Jeff meets Ann in the woods, the dead branches of the trees casting shadows upon them, showing the cracks and crevices in them better than any dialogue could, because the strain of trying to come out of “the frame” that Whit put on him was cracking Jeff just like the glass he would shatter, and the reports of Jeff killing two men had cracked Ann and her faith in Jeff.
Tourneur did a great job with pacing Kathie’s character for us, specifically her clothes. When we first see her, she’s wearing a white dress and hat, the picture of lovely innocence. When Jeff has gone to Telegraph Hill, after finding Eel's dead body, and hears Kathy on the phone, she’s wearing a sleeveless fur coat, the fur for her animal appetites that Whit’s money provides for and the sleeveless coat because she’s hiding her strength from Jeff and Whit (arms symbolize strength) no one being quite sure how Kathie will “play her hand” because her hand is hidden.
Jim saying he grew up with Ann and fell in love with her when he fixed her roller skates is a clear symbol construction for Ann as the America of our hearts, the America before World War II. Jim, being a police officer, is what Jeff himself should have been, but got turned and ended up with Kathie. Is it a good ending? Yes and no, but it’s not a satisfying ending. It’s not that Kathie and Jeff deserve each other, but they deserve justice, and the failure of the hero being redeemed is the unsatisfactory aspect of the ending, but one that would be employed continuously throughout the next ten years or more. Ann going off with Jim is justice, he’s a good man who loves her.
The last shot of the film with the small church in the background. |
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