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The Guardian - US
The Guardian - US
Entertainment
Charles Bramesco

Dark summer: why film noirs often work better in the sunshine

A shirtless man looks determined as he steers a sailboat's steering wheel
Alain Delon in 1960’s Purple Noon. Photograph: Pictorial Press Ltd/Alamy

It’s hot out there, and it’s only getting hotter. This past month, Death Valley reported the highest average temperatures in the documented history of Earth, while one day in July set a new global record that was unseated just the next day as thermometer mercury continued climbing. Dozens of cities have logged unprecedented warmness in a year that scientists are identifying as the most inarguably, oppressively sweltering the modern human race has ever faced. Soon, the concept of going on holiday as it’s understood at present – of taking the summer months to travel somewhere hotter and sunnier than your day-to-day home town so that you can, presumably, relax – will seem counterintuitive.

The climate crisis is far from mind in the 13 titles gathered under Criterion Channel’s new Vacation Noir streaming series: tanned and sweaty tales of crime and betrayal cherry-picked from 1945 to 1973. Even so, many of these films suffer from the maddening effects of extreme heat, following characters turned short-tempered, ragged and desperate as the unforgiving sun beats down on them. The moral corrosion essential to the film noir genre was more readily located among the rain-soaked back alleys and dingy dive bars of the big city, but that still left plenty of room for trouble in paradise. A person spends enough time roasting on the beach, and the rays start to cook their brain. They get to hatching schemes, and before they know it, they’re booking a first-class ticket to hell.

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