So
I read this article in
the New
Republic called
"How Hollywood Gave Up On The Detective Story." It's
an article waxing nostalgic for detective movies and griping about
the lack of detective movies in the theaters. The author of the
article, Peter Gerstenzang says that Chinatown was the last hurrah
for detective movies, and he quotes Carl Franklin, the director of a
very good detective movie, Devil
in the Blue Dress complaining
that the movies don't make much money so that Hollywood studios don't
make them any more. And then Gerstenzang ends the article on a
nostalgic sniff about hoping they make more detective movies. The
point of the article seems to be the worn out and oft-repeated
lament, "They just don't make 'em like they used to."
Gerstenzang is suggesting that on the eve of the 40th anniversary
of Chinatown,
that "Hollywood" has given up on the Hard-boiled Detective
genre. Except that he's wrong. He's wrong that they don't make them
any more. He's wrong that they don't make them because they lose
money, and he's wrong that Chinatown caused
this had-boiled movie vacuum.
The
problem with the central premise of the article is that in 1974, the
year of my birth, and the year Chinatown came out, they didn't really
make those kinds of movies any more, either. The trench coat and
fedora wearing, flask of rye in the pocket and an ever lit cigarette
detective archetype was created and popularized by Dashiell Hammett
and Raymond Chandler in the '30s and '40s. There's some argument on
who created the archetype exactly, but it's inarguable that these two
writers mastered the detective story, that their stories were turned
into very popular movies (starring Humphrey Bogart, of course) and
they spawned countless imitators.
But
that character is a completely fictional construct. There really are
criminals, so it makes sense to make crime movies. There really are
cops, so it makes sense to make cop movies. There really were
cowboys, so it makes sense to make cowboy movies. There never was a
hard-boiled detective. He's wholly invented in the pages of Black
Mask by a handful of pulp writers. He belongs to a particular era,
specifically the 1930's and '40s. And he belongs to a particular
place: The Dark City, usually New York, Chicago or Los Angeles. And
the farther we get away from that time and place, the more the
hard-boiled detective becomes an anachronism and unrecognizable to a
modern audience. Chandler and Hammett knew their time and place
thoroughly. They didn't need to research the cost of a cup of coffee
in 1945. So anything a modern author is going to add will just be
researched details and supposition based on a cleverly imagined
construct. Their versions will be a xerox copy (already an out of
date technology) of a fictional character.
So
not only is Gerstenzang waxing nostalgic for an anachronistic,
fictionalized cartoon character, he's getting misty-eyed for a very
specific kind of movie, the hard-boiled private eye film. He's
willingly ignoring the police procedural, the heist film, the crime
story from the criminal's perspective, the action movie, the
historical underworld biography, the sports movie (usually boxing,
but any activity in a sleazy milieu) and the gangster film which were
all popular and integral variations that made up the majority of the
noir film genre. And all of them have continued to be popular kinds
of movies over the years. Gerstenzang just misses movies about those
damn fedora-wearing detectives.
The
film noir era of Hollywood ran through the '40s and '50s and pretty
much had petered out by 1960, with Orson Welles delivering the nail
in the coffin to the genre with Touch of Evil, in 1958.
Welles plays the logical extension of the hard-drinking, dangerous
P.I. life: a bloated, bleary-eyed, thoroughly corrupt detective who's
fallen so far he's barely scraping up drinking money by taking bribes
and selling drugs in Tijuana.
Welles
takes everything from the genre to its natural conclusion. Not just
the hard-boiled detective character, but also the femme fatale
archetype as well as all the noir film trappings, the moody black and
white cinematography, German expressionistic lighting, and the sleazy
crime and corruption-ridden stories all go out with a big bang in
this movie. Literally and figuratively. There was nowhere left to
go.
The
next generation of filmmakers were inspired by the noir era and
so Chinatown was one of several hard-boiled movies
that came out in the late '60s and early 1970s like Bullitt, Point
Blank and Robert Altman's The Long Goodbye. But
those protagonists don't wear fedoras, so I don't think Gestenzang
counts them as being part of the hard-boiled detective film cannon.
I
would like to know what Gerstenzang thinks of The
Sting (1973). Those guys wear fedoras, but they don't solve
mysteries. The movie is nostalgic of a bygone era, set in the city,
and features crime, though.
What
about Dirty Harry? He's a detective. He's definitely
hard-boiled. He goes snooping in back alleys and shoots bad guys. He
doesn't wear a hat, however. Dirty Harry inspired
the modern action movie, which grew to include Stallone,
Schwarzenegger, Eddie Murphy and Bruce Willis as hard-boiled
detectives. But for some reason none of their movies qualify for
Gerstenzang's definition of what a hard-boiled film should be like.
Nope, Gerstenzang is longing for the good old days of the movies set
in the 1930s and '40s where a detective wears a hat in the rain. And
even if we restrict ourselves to that tiny subset of movies,
Gerstenzang is wrong.
When
Gerstenzang suggests Chinatown caused the "death
of the Hollywood detective movie" he's ignoring other modern
crime and detective movies that came out around the same time
as Chinatown featuring characters not wearing
fedoras, and even if we discount those movies, he's STILL
completely wrong. If anything Chinatown injected new
life into the fedora-wearing genre BECAUSE of it's success and
popularity. It inspired a resurgence of old-school detective movies.
In
the years immediately after Chinatown you have, Night
Moves with Gene Hackman (I know, modern story, no fedora,
but he's still a hard-boiled detective.) The Big
Sleep and Farewell My Lovely with Robert
Mitchum as Philip Marlowe, Shaft (I know, no fedora,
but most-definitely a Private Dick. It says so in the theme
song.) Thieves Like Us (they got fedoras, based on a
crime novel, not private eyes though.) Drowning Pool (classic
modern Private Eye story with Paul Newman, no fedora
though.) Peeper (a send up of 1940's private eye
movies, starring Michael Caine, and yes he wears a fedora.)
The
neo-noir thriller was popular in the '80s with Body
Heat, Against All Odds(Out of the Past remake), Jagged
Edge, The Big Easy, The Postman Always Rings
Twice remake, DOA remake. Throwback
detective stories include I, The Jury, Angel Heart, Trouble
in Mind (hey, fedoras) and Hammett, as well as
the sequel to Chinatown, The Two Jakes. And fedoras
also play a pivotal role in the Coen Brothers' clasic crime
story Miller's Crossing.
So
even though I've cherry-picked some titles to try and include private
detectives, fedoras and stories that take place in the '30s or '40s
or or at least are updates of movies from that era, there are quite a
few that Gerstenzang chose not to mention. There are hundreds more
neo-noir thrillers, cop movies, crime thrillers, heist films,
gangster films and erotic thrillers from this period that should be
included as descendents of Chinatown and classic
noir films.
Also,
Gerstenzang claims the lack of profitability of the genre as a reason
we don't see too many of this really small subset of crime movies.
But in the last few years we've had Black Dahlia, Public
Enemies, and Gangster Squad all tank
horribly at the box office, and Hollywood STILL keeps making these
movies. Sin City 2: A Dame to Die For is coming out
later this summer. And although I don't have high hopes for it's
quality, based on my opinion of Sin City 1, this
movie still hits squarely in the black and white period films
featuring private dicks wearing fedoras genre that Gerstenzang
nostalgically pines for.
Finally,
to make his point Gerstenzang glosses over the big elephant sitting
smack dab in the middle of the room, which is that for the past 30
years detective stories have dominated television. The last time I
checked "Hollywood" INCLUDES TV shows. So you'd have
to ignore the last three decade of detective shows on TV... from NYPD
Blue, CSI, NCIS, Law And Order to modern Sherlock Holmes stories, and
your various Castles, Lie to Me's and Justified, not to mention
fedora-wearing shows like Mike Hammer, Crime Story, Boardwalk
Empire and Breaking Bad. How did
Gerstenzeng not get enough dudes in fedoras on Breaking
Bad?!? Also, 2014 promises to be a banner year for
throwback detective stories with series based on Michael Connelly and
Charles Willeford hard-boiled detective heroes.
I
guess Gerstenzang didn't bother seeing "True Detective", an
amazing modern crime story (it's got the word "Detective"
right in the title), which runs 8 hours on HBO. No $80+ million
movie can tell one story as in depth, with so many hours spent on
character development, with little action, with vivid characters,
plot twists and a nuanced mystery. It's hugely popular and
profitable, already has a second season in development, and will
probably inspire more detective TV shows and movies. Sorry, no
fedoras though.
--Chan