Why do you say "Fireworks in the Day" has the style of movie black?

Regarding the concept of film noir, two points must be made clear:

1 The concept of film black is a developing theory. The first film noir put forward by film noir and French film critics now.

Many changes have taken place. But its basic core remains unchanged, but it is more diversified and integrated.

Film noir can be judged by all its standards, or a film can be labeled as film noir because it has some characteristics of film noir. My answer standard is based on the former.

Film noir is one of the American genre films. The topic about genre films happens to be my university thesis, so I won't mention it for the time being because it involves too much content. We'll discuss it again when we have a chance. Its basic characteristics are as follows (since1940s).

1 The location of the story is the city.

The main content is criminal investigation or criminal behavior and psychological discussion.

There are many scenes with "low illumination" (not "dark tone" as everyone said).

The distinction between good and evil of the main characters is vague, and there are no obvious good guys and bad guys.

Based on the above judgment, is White Fireworks film noir? Many people think there is no doubt, because it basically meets the above four main standards. But I don't think white is film noir. The reason for this is the following：

First of all, film black is a genre film. Genre films must be copied in large quantities, and films that cannot be copied in large quantities cannot be included in the category of genre films because Hollywood filmmakers have no money to make. Because only a large number of copies can maximize cost savings. We watched many excellent films film noir, such as maltese falcon and Chinatown, and felt that the film Black seemed to be an isolated individual. In fact, that's only because our audience didn't see more mediocre films of the same kind, but they are similar to these excellent films in many elements.

Fireworks in the daytime is obviously not the kind of movie that can be copied in large quantities.

Secondly, the film black must have the most basic bridges and role categories, and these bridges and role categories have fixed patterns. Bridge refers to the occurrence, development and end of conflict in a fixed time range, and its connecting link method is also established. For example, in Chinatown, Nick Jaeckle visited Fei Donnaway. In other words, others can completely copy these plots, but the tone, performance and seats are different. The use of bridge segments is also a cost-saving consideration.

There are also types of roles: elegant detective, down-and-out detective, hysterical woman, snitch coward and so on. These similar characters can be easily appreciated by the audience. What you see is not freshness, but charm. It's like the old audience in China enjoying Peking Opera, and their taste is a question of how many steps it takes for the overlord to come to power.

Fireworks in the daytime is an extremely personal creation of the director, without these types of bridges and role models.

So I think "White" is not film noir, but an "author's film" that draws lessons from film noir's mature elements.

The term Film Noir is FilmNoir, and the specific source can be found on the Internet. After the golden age of Hollywood, television began to rise in the late forties and early fifties, and large factories were gradually impacted. Coupled with the great potential after the war, McCarthyism prevailed in Hollywood, which changed the audience's appreciation interest at that time. An obvious sign is the hero idol of the anti-golden age. Reflected in western films, john ford's The Searcher appeared. Although the protagonist still found his niece who was taken away by the Indians, the niece has already identified with the Indians, and the protagonist has become somewhat helpless. This plot is very interesting, which clearly conveys john ford's sense of powerlessness in the new era as an older generation of American intellectuals and filmmakers.

In the field of detective movies, billy wilder's "Two Mies" appeared, which established film noir's Jianghu status and basic types. The description of film noir's typical characteristics in Teacher Luo Pan's answer can be found in this film. At the same time, the film also established the basic plot of the black film: that is, a detective was attracted by beautiful women, and gradually went deep into the arms of beautiful women during the investigation process, thus born to die. This is a strictly defined film noir. Movies in black style arrive in M and maltese falcon early, and the postman always rings the bell twice and arrives in Chinatown late. Film noir was only popular in Hollywood in the late 1940s and 1950s. And then sporadic, such as body heat, instinct, I like it very much. "Body Heat" broke through the typical photography styles of film noir such as Gao Fancha and low illumination, moved the story space to bright and hot Orleans (as if), and blurred human nature with heat, which was an innovation and breakthrough of "Body Heat". I believe everyone has seen Instinct, and they are deeply impressed by the ice cone inside. In fact, I think the skates in Fireworks in the Day probably came from here. It would be better if we could find a farther source. So basically speaking, Fireworks in the Day has traces of film noir or the black style of the film, and the prominent point is the two key characteristics of the black film: the anti-hero and the detective fall in love with the femme fatale. There is no black photography style of classic movies, which is his innovation. His innovation also lies in changing the setting of the femme fatale. Wu Zhizhen in the film is somewhat sympathetic, which changes the final direction of the film and becomes a mixture of literary love and film noir. So you don't look as desperate and critical as typical film noir, but you feel a little warm.