Driving Real Cars in Film Noir

Crime Thriller Cinema

CRIME WAVE 4

There is no mistaking the falseness of interior car scenes in Hollywood crime thrillers of the 1930s through 1950s when rear-projection, or process screen photography, was conceived to convince audiences that actors were actually seated in moving automobiles. In reality, these actors were placed in front of screens displaying rear-projected motion pictures of traffic/street scenes, the results of which almost always looked phony (as the accompanying frame from the 1954 film noir Crime Wave demonstrates), although hardly more phony than most CGI images in commercial releases of this digital age.

When Jean-Luc Godard and cinematographer Raoul Coutard took portable Éclair 35mm cameras into actual autos for their 1960 French “New Wave” collaborations Breathless (À bout de souffle) and Le Petit Soldat (left and right frames below), they were hailed for having “liberated” the cinema from its cumbersome industrial roots.

Breathless_3_Reasons_Still_video_stillPETIT SOLDAT

In actuality, others had made inroads into freeing the commercial cinema from…

View original post 638 more words

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: