In my last post, I described how a great friend of mine and I exchange generous Amazon gift cards for our birthdays. One gift I have already used this year’s card to purchased is this four-DVD film noir box set:
Of the four titles in this no-frills set (the only extras are trailers for every film except Storm Fear), the only one I had already seen was He Ran All the Way. Both the surprisingly-well-made Storm Fear and the classic He Ran All the Way are superb examples of what could be called “hostage noir.” Other examples would be Suddenly—featuring a spellbindingly psychotic Frank Sinatra; Blind Alley and its 1948 remake The Dark Past; and the underrated gem Dial 1119.
Witness to Murder, despite featuring Barbara Stanwyck, George Sanders and Gary Merrill, is a watered-down version of the brilliant Rear Window; what redeems it is mesmerizing black-and-white cinematography by the ground-breaking John Alton. The titular witness, Stanwyck, does her best with the material, including a hard-to-swallow romance with Merrill’s homicide detective. Sanders, however, is believably menacing and creepy as he-who-is-witnessed; no spoilers here, as the trailer itself reveals Sanders is the killer.
A Bullet For Joey is a 1955 film best described as “bonkers,” albeit generally entertaining. Edward G. Robinson, terrific as always, is wasted as a homicide Inspector—working in a Montreal which looks suspiciously like Los Angeles, and where nobody speaks with a Canadian accent. Audrey Totter looks bored, and George Raft is—well, George Raft, wooden yet strangely charming. Both Robinson and Raft had great early success in early 1930s gangster films, but while Robinson seamlessly shifted to other roles, Raft always seems stuck around 1931. To be fair, Raft is quite good as a homicide detective in a 1954 film I quite like called Black Widow, a rare example of color film noir from the “classic” era, roughly 1940 to roughly 1960.
But wait, IS Black Widow a film noir?
Nearly two-and-a-half years ago, I wrote about the “personal journey” I had taken to become a devoted fan of film noir. Two months later, a conversation with my wife Nell about career paths inspired me to write the book I am close to finishing (working title: Interrogating Memory: Film Noir Spurs a Deep Dive into My Family’s History…and My Own). My original plan was simply to flesh out the multiple facets of my personal journey into book-length form, but it quickly morphed into a full-on investigation of…what the working title sums up nicely.
In that May 2017 film noir post, I introduced my quantitative film noir research project. Essentially, I collected as many published—either as a book or on a credible website—film noir lists as I could find. These lists could be explicit (encyclopedias, dictionaries, guides, filmographies) or implicit (discussed as film noir within the text of a book about film noir), and needed to include a minimum 120 films.
Ultimately, I acquired 32 such lists, from which I created an Excel database of 4,825 films at least one “expert” labelled film noir, however indirectly. From these data I calculated a score cleverly called “LISTS,” which denotes how many lists feature that title. The idea is simple: the more film noir lists on which a film appears, the more widely it is considered film noir. Just to be perfectly clear, this is not a measure of how “noir” a film is, merely how often it is cited by acknowledged experts as noir. To date, no agreed-upon definition of “film noir” exists.
Somewhat to my surprise, only four films appear on all 32 lists: Double Indemnity, Kiss Me Deadly, The Maltese Falcon and The Postman Always Rings Twice; not surprisingly, these are exemplary films noir. Along those lines, only 201 titles (4.2%) appear on as many as 20 lists, and only 478 titles (9.9%) appear on as many as 12 lists; at the opposite end, just under half of the films appear on only one list.
Using additional information from 1) 13 shorter lists and 2) lists within lists, such as the 50-film Canon in The Rough Guide to Film Noir[i], I next calculated a score called “POINTS.” The maximum number of POINTS a film can receive is 67.5; Double Indemnity comes closest with 62.0 POINTS, followed by Out of the Past (59.0); The Maltese Falcon (58.0); Kiss Me Deadly (54.0) and Murder, My Sweet (53.5). As with LISTS, shockingly-few films had as many as 20 POINTS—249, or 5.2%–while only 515 (10.7%) had as many as 12 POINTS. Just under half—48.2%–of films had only one POINT; by definition, they appeared on only one list as well.
You may review my 46 total sources and POINT-allotment system here: Film Noir Database Sources.
Based upon the similar distributions of LISTS and POINTS[ii], every title is classified as Universal (≥12 LISTS or POINTS), Debatable (>5, <12 LISTS or POINTS) or Idiosyncratic (≤5 LISTS or POINTS); the percentage of films in each category is roughly 10%, 10% and 80%, respectively.
So, to answer the question with which I opened this section: Black Widow has 7 LISTS and 8.5 POINTS, putting it squarely in the Debatable category. I encourage you to watch it and draw your own conclusions.
When I first wrote about my film noir fandom “journey” in May 2017, I had seen 558 (11.6%) of the films in the database. Incrementally increasing the LISTS minimum from 1 to 20, the percentage of films I had seen increased steadily to 87.1%. And the films I had seen comprised well over 30% of total LISTS and 40% of total POINTS; unfortunately, I failed to record the precise percentages at the time.
However, through my recent viewing of Storm Fear, every one of those values has increased. I have now seen 698—14.5%–of the 4,825 films in the database; that is 140 first-time film noir viewings in nearly 30 months, or nearly five titles a month. Updating the original breakdown:
Any film 698/4,825=14.5%
LISTS≥3 564/1,613 =35.0%
LISTS≥6 470/890 =52.8%
LISTS≥12 362/478 =75.7%
LISTS≥15 308/364 =84.6%
LISTS≥20 193/201 =96.1%
As of this writing, the only films with LISTS≥20 I have yet to see are The Devil Thumbs a Ride, Suspense, Kiss the Blood Off My Hands, Rogue Cop, Nightmare, The Thief, The New York Confidential and World For Ransom. The bottom line, however, is that the 698 films I have seen total 8,887 LISTS, or 46.3% of all LISTS in the database, putting me 705 total LISTS shy of a majority. I could reach that milestone by watching the top 40 films, by LISTS, I have yet to see, which I very much look forward to doing.
Meanwhile, when my DVD set arrived, I had seen 695 films totaling 10,735 POINTS, or 49.85% of all POINTS in the database. Witness to Murder (19 LISTS, 19 POINTS) got me to 49.94%, while A Bullet For Joey (10,10) got me to 49.98%. And…after watching Storm Fear (16,16), I was at 10,780 POINTS, which is 50.06% of the 21,534.5 POINTS in the database.
Having seen a set of films comprising a majority of all POINTS in my film noir database is a milestone I invented, but that makes it no less fun to celebrate.
Speaking of milestones…I am extremely reluctant to tout my blog statistics. I write on this site because I think I have something interesting to say, not for accolades or gaudy view numbers—not that I am averse to either, mind you.
This reticence, to be honest, stems in large part from the statistics themselves: as I approach the end of three years writing on this site, I have “only” 109 followers, and my posts have been viewed “only” 8,814 times. Still, the rate of increase for both—and the latter especially—has been steadily accelerating over time. And I greatly appreciate every single follower and view—even the fellow on Twitter who said that someone to whom he had shown this post—which I published two year ago today—had called it “trash.”
And, to be fair, a number of my posts have been (relatively) widely read. In fact, in September 2018, Film Noir: A Personal Journey became my second post to receive 100 views; it has now been viewed 148 times. One month later, this post on now-Associate-Justice Brett Kavanaugh became the third to reach that milestone, and last month it topped 200 views, my second-ever post to do so. It has now been viewed 215 times, while five posts in total have now topped 100 views—133 or more views, actually.
So which post beat “Personal Journey” to 100 views and “Kavanaugh” to 200 views?
It was one I wrote on a lark as I began to write the “Charlie Chan” chapter of my book, the one in which I describe how my love of classic black-and-white crime and mystery films was predicated upon my discovery—just shy of my 10th birthday—of the 20th Century Fox Charlie Chan films of the late 1930s and early 1940s[iii]. Collecting information about those films, I built an SPSS database containing, among other data, how various organizations and critics rated those films. Combining those data into a single value, I was able to “rank” every Charlie Chan film in relative quality from lowest to highest.
I published Ranking Every Charlie Chan Film on August 26, 2017 to what could best be described as crickets. It was viewed only seven times that month and only 23 times through the end of the year, close to the median 25 views my posts receive. By the end of April 2018, it had received 42 views, just over my post-average of 40.
But starting in July 2018, something happened. The post received 20 views that month, followed by 33, 34, 46, 55 and 53 views over the next five months; by the end of 2018, it had been viewed 299 times. And, of course, the more it was read, the higher it rose on Google searches, and so the more it was read. Over the first eight months of 2019, in fact, it was viewed an astonishing (to me, anyway) 823 times, or 103 times a month. And in July 2019, nearly two years after I published it, it crossed the 1,000-view threshold. As of this writing, it has been viewed 1,234 times.
Not coincidentally, if you Google “Charlie Chan films,” the 41st entry is my post; until recently it had been 16th, but I am not complaining one bit. And if you add the word “ranked” to the search, the very first entry is my post.
As esoteric and specific as that is, I am deeply humbled by it.
There is one last thing.
I do not read or follow as many blogs as I am “supposed” to in order to a “successful” blogger, but there are a handful whose latest posts I am always excited to see appear in my Inbox. In no particular order, they are:
What these sites have in common, besides each author’s gracious reactions to my, at times, long-winded comments, is they are all authored by women with uniquely interesting and powerful personal stories to tell. I always have something to learn from them.
Until next time…
[i] Ballinger, Alexander and Graydon, Danny. 2007. The Rough Guide to Film Noir. London, UK: Rough Guides, Ltd.
[ii] The correlation between the two scores is 0.983.
[iii] There is a lot more to this story, of course, mostly involving my relationship with my father, his gambling and an old family business, but I save that for the book itself.