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The Rise of Sci-Fi Noir

“A copy is just an identical image. There is the possibility that a single virus could destroy an entire set of systems and copies do not give rise to variety and originality. Life perpetuates itself through diversity and this includes the ability to sacrifice itself when necessary. Cells repeat the process of degeneration and regeneration until one day they die, obliterating an entire set of memory and information, only genes remain. Why continually repeat this cycle? Simply to survive by avoiding the weaknesses of an unchanging system.” – The Puppet-Master from Ghost In The Shell (1995)

The Film-Noir movement of America in the 40s and 50s is perhaps one of the most important check-points of World Cinema. The genetics of this era have left behind a rich legacy for film makers to tap into. These ‘genes’ have reincarnated into several avatars throughout the cinema of the following decades. Somewhere in this genetic transit, the Noir-gene collided with Science Fiction and the result was the birth of a new kind of cinema.

Initially found to be highly unstable, Sci-Fi noir outlived its predicted life-expectancy and continues to prevail today as one of the most inspiring genres of global cinema. The Noir-gene presents a dystopian world, a morally ambiguous protagonist, a femme-fatale and a dangerous pursuit while the elements of a futuristic time-line, technological advancements and scientific themes are provided by the world of Science Fiction.

The First of Its Kind: ALPHAVILLE

In 1965, Legendary French director Jean-Luc Godard gave the world ‘Alphaville’ in which he borrowed American pulp hero Lemmy Caution and placed him in a futuristic setting on another planet. Godard, credited as one of three influential figures responsible for initiating the French New Wave movement, thus kick-started the proceedings to a new kind of hybrid genre. The possibilities were endless.

The story with its classic Noir setting is elevated to dizzy heights due to the fact that Lemmy Caution, our hero is up against Alpha-60, a super-computer that governs an entire city. Thus the story elevates the protagonist to super-human levels to be presented as a formidable opponent to the god-like machine. Lemmy Caution represents all that is mankind- with his mind and his soul as his greatest weaponry against a logic-powered, inhuman dictator.

Lemmy Caution was portrayed by legendary American-born actor Eddie Constantine with Godard’s then-wife Anna Karina playing his love-interest, the beautiful Natacha Von Braun.

Following in Alphaville’s footsteps, several cross-genre films surfaced in the later part of 1960s and the early 1970s. Soylent Green (1973) was the first major American film to portray elements of Sci-Fi Noir. The later part of the 1970s and the early 1980s saw Sci-Fi Noir take a back-seat with the advent of George Lucas’ Star Wars Trilogy, which marked the return of pure-bred, space-age, science-fiction epics. Star Wars picked up where Kubric’s 2001 had last left off.

It wouldn’t be until 1982 that Sci-Fi Noir makes a triumphant return.

The Second Wave: BLADE RUNNER

Initially presented to a lot of mixed-reviews and modest performance in its home turf, Blade Runner went on to startle international audiences and rightfully claim its place in Cinema history as a Cult-Classic. Directed by Ridley Scott, the film reanimated the soul of Sci-Fi Noir and presented it to a whole new generation. The culture of the 1980s which embraced experimentalism readily, responded well to the themes of Sci-Fi Noir. Blade Runner is also credited to be a major influence in the rise of the Cyberpunk culture.

The film is set in Los Angeles circa 2019 AD, where a group of genetically developed beings called ‘Replicants’ are terrorizing the society. The Replicants, though designed to look like human beings are manufactured with superior strength to substitute humans in the performing of lethal tasks. As a safety mechanism, all Replicants are provided with a life-span of 4 years only. In case of any Replicants that are absconding, Blade Runners are sent in their pursuit to track them down and permanently ‘retire’ them. Our protagonist Rick Deckard (played by Harrison Ford) is a worn-out Blade Runner who reluctantly accepts one last mission.

Loosely based on the Philip K. Dick novel ‘Do Androids Dream of Electric Sheep?’, the film explores themes that transcend traditional science-fiction. The slow pace at which the film progresses forms a key element in establishing the loneliness and tragedy that hangs over the typical dystopian future. There are questions raised on the cycle of life and death, on the concept of good and evil, the quest to know the origins of oneself and the nature of survival. The use of lavish set-design, unrealistic lighting and the vision of Ridley Scott captures the ambiguity of the real-unreal paradox and delivers a film that is nothing less than a masterpiece.

The second wave of Sci-Fi Noir unleashed by Blade Runner would last much longer and go onto inspire countless American films over three decades like The Terminator (1984), Robocop (1987), Total Recall (1990), Judge Dredd (1995), The Fifth-Element (1997), The Matrix (1999), Minority Report (2002) and i-Robot (2004). The wave spread internationally with films like Akira (1988), Existenz (1999) and Avalon (2001).

One film would redefine the way we look at Sci-Fi Noir.

A New Medium: GHOST IN THE SHELL

The concept of Sci-Fi Noir blended well with the style of Japanese Anime. The rising tide of the genre caught on well with the Japanimation culture and quickly became popular with fans and animators alike. Anime followers saw the introduction of several characters and storylines inspired by Akira-esque themes and eventually they were all over the place. This movement also encouraged the animators to produce some high-quality realistic artwork, moving away from the traditional comical versions. Perhaps the greatest example of this new serious artwork is Ghost In The Shell.

Director Mamoru Oshii brought together a dream team of animators and special effects personnel for the film-adaptation of Masamune Shirow’s famous manga ‘Ghost In The Shell’. The film was far too ahead of its time when it was released in 1995, in terms of both: the presentation and the ideas.

The incredible detail of the artwork combined with the best of digital special effects resulted in a brilliant visual treat that astounded audiences the world over. But the beauty of the film is not limited to its visuals alone. The storyline brings out complex philosophical subjects into question and seems far too impressive for the traditional perception of an animated film. Much like Blade Runner, the film discusses the nature of the real-unreal dichotomy and questions the themes of life, death and legacy. Set at a deliberate slow-pace and to a lonely futuristic world, the film creates a vast sense of space to reflect on its various complex themes. On the other hand, the explicit depiction of violence and nudity only adds to the overall feel of the film and never once feels unnecessary. Adding yet another dimension to the film is a haunting theme song and an unforgettable soundtrack provided by the one and only Brian Eno.

Ghost In The Shell was translated to many languages and remains a popular choice among fans of Science Fiction even today.

The Continuing Legacy of Sci-Fi Noir

Though it may be known by different names across several decades, the essence of Sci-Fi Noir remains in the idea and not in the name. Though the blueprint was laid out by Godard in 1965, the genre perhaps existed even before that. Fritz Lang’s Metropolis (1927) was widely regarded as the first Science-Fiction film. One of the defining elements of Lang’s film was the use of German Expressionist cinematography, which in turn is a major element that influenced the look of classic Film Noir. Does that actually make ‘Metropolis’ a work of Sci-Fi Noir? Could it be that Sci-Fi Noir actually influenced Science Fiction and Film Noir as opposed to it being the other way around? Where does that leave us in the web of Film Genre?

23-July: Continuing on the post’s spirit, Jahsonic posted videos for Alphaville and Blade Runner at his website. Click here to view.