Scarface (Howard Hawks 1932)

'Johnny' Lovo: Hey, stop him somebody!
Tony Camonte: Get out of my way Johnny, I'm gonna spit!

Violence is a ever-present element in this Hawks masterpiece. The film, made in the early thirties, is a gangster movie with some noir elements: Though most critics agree that “true” noir starts in the early forties the treatment of light and shadow is very special in some of the scenes. Scarface would provide the tone for many movies made later.

This portrait of the gangster Tony Camonte (Paul Muni) had some problems with the censorship – it was accused of glorifying gangsters; a long disclaimer had to be added at the beginning of the movie: …the purpose of this picture is to demand of the government: 'What are you going to do about it?' The government is your government. What are YOU going to do about it?. Besides the subtitle “Shame of a Nation” was also added to the original title.

Camonte is portrayed as a ruthless gangster who stops at nothing to reach his goals: bootlegging, murders (“x” marks the spot in some memorable cuts – as in the bowling scene). As Tony says: “Listen, l'il Boy, in this business there's only one law you gotta follow to keep out of trouble. (He pats his gun in his coat pocket and cocks his thumb and finger - and fires.) Do it first, do it yourself, and keep on doin' it.”

Therefore the film has a grim, raw mood with only some funny moments with Camonte’s secretary Angelo (Vince Barnett).

Camonte’s story is one of a rise and fall; Tony’s insane jealousy of his sister Francesca (Ann Dvorak) – there is a Borgia quality in the treatment of these two characters - will lead him to his own destruction. After killing his sister’s husband, Guino Rinaldo (George Raft), he is surrounded by the police and finally killed under the sign: The World is Yours – something which reminds of Cody Jarrett’s (James Cagney) final words: “top of the world” in White Heat.

The Big Sleep (Howard Hawks 1946)

General Sternwood: Ugh. Nasty things. Their flesh is too much like the flesh of men, and their perfume has the rotten sweetness of corruption.

The rotten sweetness of corruption – like an orchid perfume – is present all along this film. This Howard Hawks film is one of the most powerful and complex noir movies of all times. A number of murders make it almost impossible to figure out the full plot of the story, we – like the hard boiled private eye Philip Marlowe - are lost in a world of ambiguity and chaos (it was said that even Raymond Chandler couldn’t explain some of the details of the plot).

The characters – gangsters, femmes fatale - and their confrontations are also a key part of the movie the story. Philip Marlowe has find out about the activities the Sternwood sisters are into: “I assume they have all the usual vices, besides those they've invented for themselves” their father says.

This interaction between the main characters is dotted with witty, sharp dialogues, often filled with sexual connotations – especially in the Bogart – Bacall scenes:

Marlowe: You've got a touch of class, but I don't know far you can go.
Vivian: A lot depends on who's in the saddle.

The chemistry between these two stars is one of the strong points of the film:

Vivian: You've forgotten one thing - me.
Philip Marlowe: What's wrong with you?
Vivian: Nothing you can't fix.

But The Big Sleep is much more than a Bogart – Bacall movie. It’s one of the noir masterpieces with a superb atmosphere and great supporting performers. From Martha Vickers (Carmen Sternwood), Elisha Cook Jr (Harry) or Charles Waldron (General Sternwood) to such a minor role as Joy Barlowe’s as a taxi driver:

Taxi driver: If you can use me again sometime, call this number.
Philip Marlowe: : Day and night?
Taxi driver: Uh, night's better. I work during the day

Besides the afore mentioned performances I have always liked the Dorothy Malone part in her brief appearance as a bookstore manager