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Richard Waite                                                                                                                        Waite 1

English 101

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12/1/2013

Speech Outline of L.A. Confidential

Attention Getter: Movie trailer

Thesis: Today I will tell you about how Curtis Hanson successfully updates this genre by quantifying the classic noir protagonist and retains a classical noir style by integrating foreshadowing and fatalism in the film which decidedly make L.A. Confidential the epitome of neo-noir.

-Elements of Neo Noir

A. Protagonists in Search of Answers.

            1.) Multiple protagonists, one Phillip Marlowe. Shady, Brutal, and Smart

Elana Shefrin’s academic write "Le Noir Et Le Blanc: Hybrid Myths In Devil In A Blue Dress and L.A. Confidential" further examines the split detective figures within L.A. Confidential,“In a somewhat parallel ambiguity, the Exley/ White duo, seen as two halves of a whole man, form a hybrid persona as they become jointly single-minded in their investigation. White’s hot rages are tempered by Exley’s cold calculations as they move toward solutions to numerous psychoses in the public and private spheres” (Shefrin).

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            Together, the main protagonists in L.A. Confidential are equal to one decent cop.

            2.) Vincennes’ Fleur-de-Lis prostitution ring, White’s missing heroin, Exley’s Nite Owl case lead them all to Dudley Smith and his goons

            3.) The personalities of Vincennes, White, and Exley identify closely with that of Phillip Marlowe in contrast to other classic noir protagonists.  

Elements of Noir

B.  L.A. Confidential maintains the classic noir setting by incorporating blackmail, the nostalgic location, and foreshadowing. Similar to classical noir films such as The Big Sleep and Double Indemnity

C. Foreshadowing

Foreshadowing and fatalism is shown throughout L.A. Confidential whether it is with flashbacks, conversations, and even hidden clues.

            1.) One classic noir film which foreshadows the plot and character outcomes is   Double Indemnity introduction. The introduction begins with an unknown figure seen in the opening credits walking towards the camera in crutches.

2.) Dudley Smith quote describing the actions of all protagonists, “Would you be willing to plant corroborative evidence on a suspect you knew to be guilty, in order to ensure an indictment? Would you be willing to beat a confession out of a suspect you knew to be guilty? Would you be willing to shoot a hardened criminal in the back” (L.A. Confidential).

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3.) Sight and Sound Magazine Amy Tuabin’s interview with Curtis Hanson hints to the likeliness of this, “The audience might also notice that there's a certain resemblance between this movie and This Gun For Hire” (Taubin).

Blog #7

"Kidnapper Bell" written by Jim Pascoe and "City of Commerce" written by Neal Pollack captivate the reader's imagination with detailed descriptions of the land and surroundings. Anyone who has ever seen the L.A. River or has driven on the I-5 freeway can practically picture themselves there. Both writers set significant landmarks indicating the city of Los Angeles, but also incorporate fashion, culture, and life styles. The knowledge both writers have of this area leads me to believe they are familiar with Los Angeles or have once lived there. Though, Pascoe's story which takes place in China Town and at the L.A. River does not distinguish Los Angeles, China Towns are in most major cities and rivers are literally everywhere. However, Pollack's story does by giving a time reference to traffic on the I-5 freeway, glamorous hotels with gold trim, and the protagonist's struggle as an actor.

Blog Entry #5

In Brian Gallagher's article "I love you too" Sexual Warfare and Homoeroticism in Billy Wilder's Double Indemnity, Gallagher constructively breaks down every insinuation made by James M. Cain and Billy Wilder in their novel and film Double Indemnity. This writer did extensive research on exploring this subject and the supportive sources he uses gives his credibility for his argument. The information Gallagher provided in this article brings to light that the story is told by a wounded Walter, suggesting that perhaps Walter's story is biased and even jaded. If Walter had not been shot prior to the confession, maybe his thoughts of the femme fatale character would be different. Gallagher argues that death is associated with heterosexuality and homoeroticism. Phyllis has blocked the connection between Walter and Barton, though when she dies there is no longer any obstacles preventing the two from their bond to one another. It is when Walter is dying, he is then comforted by his friend Barton. If there is any connection I believe it is only friendship, if there was any homoeroticism between Water and Barton why was it never acted upon prior to these events. The two have known each other for over ten years and nothing has come about the two before the meeting of Phyllis. The author suggests that the film is more complex than the novel, which I strongly disagree with. I thought the film made the story so much simpler to offer no confusion to the audience, yet the novel plays off the readers imagination, creating endless possibilities and viewpoints.Though I like Gallagher's idea of sexual alliances placed in the story to reflect the war which took place during the making of the film.

Blog Entry #4

Zero Draft Questions #3 and #1

           Both Cain and Wilder’s Double Indemnity is portrayed in a strict manner to appropriately follow a chronological sequence. A story circled around and told by the ambiguous protagonist Walter Neff/Huff, beginning with his first encounter with the femme fatale character Phyllis Dietrichson/Nerdlinger. The protagonist gives great detail in both film and novel to the atrocities he already committed in his confession, elaborating with his own perception regarding the actions of himself and others. Every fore and after thought is expressed with each hard decision the protagonist had to undertake, leading up to his ultimate demise. If the story was told in another fashion rather than a chronological sequence, the mystery of which carries Double Indemnity’s plot and characters would perhaps become distorted or even diminished.

          In the end, the ambiguous protagonist faces his impending doom, yet they differ in how Walter meets that end. Wilder’s Walter sits helplessly, almost willingly; awaiting justice from the man he tried to stay one step ahead of, whether it be lighting a match for his cigar or simply outsmarting his friend and colleague, Barton Keyes. Walter finds himself in an awkward and reversed role of this man as Keyes finally lights a match for his cigarette, signifying Keyes now has the upper hand in the situation and any attempt in escape is futile. Cain’s Walter discovers that death may be his best and only solution. He finds himself alongside with the femme fatale character Phyllis Nerdlinger on a deadly ocean with no way out. Together, the two decide to commit suicide by jumping off the deck into the freezing ocean, yet Walter had received a gunshot wound prior to coming aboard the ship. He knows if he was not to drown in the water, the sharks that trail the boat would surely find the scent of blood leaking from his wound. Though, similar in both film and novel, a calming sense of reprieve embellishes over Walter as his last cigarette is lit and as he gazes deep into the vast sea below. This being evident, signifies the appropriateness of Double Indemnity's endings.

Blog Entry #3 Delirium Trigger

                I sadly watched the sun set behind the dark clouds that day,

 a ray of light could be seen radiating from a single point in the sky, slowly fading behind the cloud cover. I can’t remember the last time I ever did that, I must’ve been too young before to appreciate a sight like this one and if I was any older I doubt I would’ve even noticed. In my 37 years I’ve seen a lot of beautiful things come and go, Rita Onavuel was one of them. A 32 year old woman with the most seductive look, yet I swear there was something almost angelic about her. Hell, Rita had a set of brown eyes that even the best of men would get lost in. Though, I cursed the day I ever got mixed up with this awful love affair; if I hadn’t, maybe she’d still be alive. Rita and I once bled with love and now that blood is on my hands. A deep red that left stains, stains I can’t wash away.

The rain fell hard that night, a little harder than usual. Lightning clashed and thunder roared, illuminating the dark sky above and the rain-slicked streets below. I parked my car under a light post several blocks away from the banquet hall, my eyes shifting frantically back and forth from the clock to the rear view mirror. I was nervous, the inside of my palms were covered in sweat trying to hold the wooden grip of that revolver. I’ve never killed a man before. In a few minutes when Frankie Martel walks out of that banquet hall and pushes through those double doors, I'll be on the other side waiting and then it'll be his turn to stare down the barrel of a gun. It doesn’t matter if I am made or not, I’ve already lost everything I ever cared about, but I'll be damned if I see him get away with this. I would rather watch it all burn than to see Martel get away with the murder of my Rita. If I have to make a martyr out of myself to be the call of justice, than so be it. I will, with a lighter in hand.

I started the car and made my way to the banquet hall. It was now sink or swim; several people could be seen walking out of the building already. Do I dance with the devil and dig my own grave or do I cut out this self-inflicted pain and somehow just let it all go? I waited there for what must’ve seemed like an eternity, contemplating my next move. And then I had my answer, before I knew it I was outside in the rain, darting towards the banquet hall steps. As I got closer I could feel my heart almost beating out of my chest, yet my gun hand steady as a rail.

Blog #2 Double Indemnity

Double Indemnity, a novel by James M. Cain is classified as a piece associated with film noir due to the author’s style of writing, plot points, and characters. Cain places the reader in a simpler Los Angeles suburban area and tells the tale of an insurance agent named Walter Huff. A slick, fast talking gentleman who is good at making moves and getting in quick to make a living as a salesman in the city. Raymond Borde and Etienne Chaumeton, authors of “Towards a Definition of Film Noir” describe attributes of the ambiguous protagonist such as Walter Huff,

“He is often enough masochistic, even self-immolating, one who makes his own trouble, who may throw himself into fear, neither for the sake of justice nor from avarice, but simply out of morbid curiosity.”

 Double Indemnity’s femme fatale character is introduced in a subtler manner; Borde and Chaumeton define the femme fatale character in “Towards a Definition of Film Noir,”

“Frustrated and deviant, half predator, half prey, detached yet ensnared, she falls victim to her own trap.”

 She is Phyllis Nirdlinger, the wife of Mr. Nirdlinger. Phyllis and Walter meet to discuss an issue regarding Mr. Nirdlinger’s auto policy. The woman at first is suspicious of Walter Huff and seems protective over her husband, Mr. Nirdlinger. The two characters become intimate fairly quick with each other having only a few interactions together. The dialogue between the two opens the true nature of these psychological nightmares as they meet together at late night rendezvous. Both Walter and Phyllis show slight hesitation to engage in one another, but ultimately give into their immoral intentions. 

 Lola Nirdlinger is introduced as what I am assuming from the reading to be the heroine, she seems to be a sweet, trusting, and thoughtful person to all. Walter persuades and sets up a life insurance policy for Mr. Nirdlinger in hopes of collecting a massive amount of money with Mrs. Nirdlinger. Collusion and deceit now surrounds Mr. Nirdlinger without any knowledge of their plot to end his life. The mood darkens as they menacingly conspire against her husband, looking for any opportunity to place his body on the tracks to collect the money from the life insurance policy with the double indemnity stipulation. 

Once the deed is done the mood changes to an intense paranoia and the two characters, Walter and Phyllis become frantic. Suspicions of foul play present itself to the insurance company and to law enforcement; some assume it is suicide and the chance or likeliness of this even being considered an accident is dire.

Blog #1 Neo-Noir elements: Reservoir Dogs

Quentin Tarantino’s Reservoir Dogs is a neo-noir film full of dialogue, suspense, and mystery. The visual elements Tarantino uses in this crime drama are the placements of lighting, character shadows and unusual camera angles. This film opens with the entire cast at a breakfast diner, several men dressed in the same attire; Black suits and black ties. The men converse around the table knowing only one thing about the person next to them, the other person’s code name; Mr. Brown, Mr. Blonde, and Mr. Orange, etc. They have one single connection to one another and that is with Joe Cabot, a crime boss who put together a handful of conflicted anti-heroes in order to pull off a diamond heist at a large jewelry store.

After a few cups of coffee, several smokes, and an argument over how to tip, the gang finally walks out of the diner. The camera slows, pans, and focuses on the men in suits walking deviously, yet almost nonchalantly out to the car. The next scene opens with Mr. Orange screaming in the backseat of a car, bleeding helplessly while Mr. White is trying to comfort the dying man. The two are left with a difficult decision to either rendezvous with the others or to drop Mr. Orange off at a hospital.
Mr. White assures Mr. Orange driving to the warehouse is the best decision for him, though the two hardly know each other, Mr. White treats Mr. Orange like a son or a brother in this scene.
The two enter the warehouse and are then reunited with Mr. Pink who is suspicious of a setup. The angle of the camera when set on Mr. Pink in this scene is one visual element used in noir and neo-noir films. Throughout the rest of the film, Mr. White defends this wounded man of not being a cop because of their time together, though he is a known criminal, he carries himself as a professional and Mr. White is portrayed as the hero in the film. The mystery of being setup and finding the "rat" deteriorates the once solidified group as the movie progresses with each new member that enters the warehouse.

The film ultimately ends with an epic shootout between the remaining members, leaving them either dead or dying, with the exception of Mr. Pink who flees only to be met outside by police. The only two left alive at the warehouse are Mr. White and Mr. Orange, this is when Mr. Orange sobbingly confesses to Mr. White that he was in fact a cop. Finally unveiling the mystery to the only man out of the gang who stood up for him.