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Examining the Representation of Masculinity in Films |
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In order to gain an understanding of the varying representation of masculinity through the 1940’s, I have decided to study two films in detail, The Big Sleep (1946), and Dead Reckoning (1947), and to compare them where relevant to the earlier film The Maltese Falcon (1941). My reasoning behind these choices is two-fold. Firstly I feel the later films give clear examples of a ‘crisis of masculinity’ in the post-war male. I was also influenced by the fact that Humphrey Bogart takes the lead male role in each film, thus making comparisons, and differences between his characters easier.
Bogart stars as private investigator Phillip Marlowe in The Big Sleep (1946), an adaptation of Raymond Chandler’s 1939 novel. Hired by a millionaire invalid general to stop an acquaintance of his wild and badly behaved daughter, Carmen, from blackmailing him. This is the beginning of Marlowe’s rapid descent into the dark noir world of murder and extortion.
There are countless examples where Marlowe has little power over the situation he has found himself in, or where he is de-masculinised or belittled by the other characters. One example of this is he inability to act when Geiger is shot. Marlowe is outside of the building and cannot see
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Below are additional random excerpts from the paper...
In conclusion I feel that the male characters of 1940’s film noir are portrayed as being progressively less masculine as the decade progresses. I believe that the reasons for this are the feelings of disillusionment experienced by society in general after the end of the Second World War. When fighting away from home, men learnt to rely utterly on other men. After being instructed to carry out duties necessary to war for a number of years, they were returned home and must of found it very difficult to integrate back into normal society. Particularly as society would have changed greatly during the time they were at war, for example the widespread inclusion of women in previously exclusively male work forces. I believe that this must have had a severe effect on the confidence of the men who lived during this time. Because film generally reflects the society within which it is created, a fluctuating lack of self-esteem and over-the-top masculinity coupled with feelings of alienation from women and civilian life in general, is reflected in the films made in the latter part of the 1940’s.
Another element of the film that calls Marlowe’s masculinity into question is the underlying theme of homosexuality, seen in the male relationships (both past and present) within the plot. The first example of this is the General’s despair at the disappearance of his close companion and son-in-law, Sean Regan, ‘Sean has left me’. Marlowe briefly takes over Regan’s role when he drinks brandy in the conservatory with his employer. This is the only time in the film where Marlowe can enjoy this type of male companionship, as unlike many noir films of the time, he has no male best friend. This means that he is alone and vulnerable, with only a woman (Vivian) to turn to. This is echoed in Dead Reckoning (1947), where Bogart’s character is left with only a female companion in which to place his (misguided) trust.
Another technique that embodies the masculine world of film noir (present in this film but again absent in The Big Sleep), is the use of a male best friend (Johnny) for the leading actor. Although this relationship is desexualised at various points, such as when Rip avoids looking at the bare-chested and washing Johnny, whilst talking about ‘dames’. The friendship is very close and it is Rip’s love for his companion that causes his blind mission to discover the cause of his disappearance. After Rip sees Johnny’s college badge and realises his real name is Preston, he has to enter the dark world of Preston in order to restore the identity of Johnny Drake.
Rip’s investigation into the
Some topics in this essay:
Chandler Coral,
Raymond Chandler’s,
Eddie Mars’,
Rip Murdock,
World War,
Dead Reckoning,
Sean Regan,
Jonathon Coe,
Maltese Falcon,
Sam Spade,
dead reckoning,
dead reckoning 1947,
film noir,
bogart’s character,
private investigator,
sleep 1946,
maltese falcon,
reckoning 1947,
geiger’s house,
‘crisis masculinity’,
noir world,
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Approximate Word count = 1782
Approximate Pages = 7 (250 words per page double spaced)  |
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