When looking at the crime film it is important to understand the nature of the films
genre. The genre is a way for the audience to distinguish types of films. These are
categorised together because of standard protocols developed for a particular types or
styles of film. These films usually follow similar guidelines in order to produce a
predictable style for the audience. The development of genre films is not entirely the
prerogative of Hollywood. It is more the desire of the public viewing audience to have
an idea of the type of film they are about to see. The western, musical or the gangster
film are examples of genre films. These categories of films all have similarities in the
ways in which they are made: musicals end happily; the westerns will all have the final
shoot out; and the gangsters will all be overcome by justice or meet their own demise.
The reason for the consistency in the films is the publics desire to make an informed
choice not and not to go in blind.
By using the genre qualification, the industry is able to target societal groups and try
to produce and market what they want to see. The public attends a film because they think
they might enjoy some aspect of it. The film genre follows a set of abstract rules that
allows the public to informally categorize films. These rules must be viewed from an
flexible point of view in order to legitimize their future existence. By using this
method of categorizing films the public is able to decide which films they wish to see
and those they do not. Some people love musicals and if they were to go to one and find
there was no music or dance they might not be too pleased. The concept of genre is one
that may provide benefit to the viewers but at the same time may also present problems
for the directors who must compromise their artistic aspirations. Examples of this can
be seen in the production of sequels, and the use of repetitive set qualities. These
may include the mise en scene of the picture or the inclusion of similar sound. Because
of these unwritten rules the directors must include some of the familiar aspects of the
genre. The greatest problem may be that the film must fall into a genre category.
Defining it within the genre may be compromising to the nature of the film.
Scarface (1932 U.S.A. - Howard Hawks ) is a film where ones view of the lead role is
ever changing with the apparent mental stability of the character. Tony, the principal
character, exhibits personality characteristics found in every persons life which
normally must be kept hidden. People appreciate the fact that Tony has the guts to do
what he wants and at the same time gets the respect that he feel he deserves. Every mans
dream, and on top of that he gets paid. There is always a fascination when money and
power is involved.
The character is portrayed through the majority of the film to be worry free, on top of
the world, healthy, respected, and loved. The major problems presented to Tony through
the earlier portions of the film are those just like any common man: arguments with his
mother and sister; family disputes; and overzealous protection of his sister. In
presenting the life and times of Camonte, the viewer sees problems that might also be
present in his/her own life and can therefor relate well to them. Being able to emulate
the life of the film character enables the viewer to feel sympathy or compassion. If the
viewer can relate, he can then justify or understand the actions of the condemned.
The audience is lead into the hands of Tony and the sympathy lies with his expression
of emotion. A man whose ruthless desire to be on top enabled him to kill one of his
better friends and sisters lover remains capable of showing remorse or fear of being
alone. This is how we are able to suddenly feel for him. He's tough: a mans man. You
have to like him. The character of Tony Camonte might be that of a mean and ruthless
killer but at least he's a capitalist, an important quality at the time. Tony throws
money around, gets the girl and a whole lot of respect. These are the opportunities
that many men would love to have.
Down to the wire we feel for the man who had it all. We recognise that any man who is
that tough has to have some feelings that when exposed engender our admiration. By
introducing the audience to the emotional side of Tony Camonte, a closer relationship
between the viewer and the character is established. This, of course, is appealing to
the viewer and we return the favour by cheering for Tony Camonte.
Bonnie and Clyde (1967 U.S.A. - Arthur Penn ) is a film where audience sympathy tends to
run wild. There are many variables that make it impossible from any generations point of
view not to sympathise with them. The two characters appeal to everything that
contemporary youth embrace. Unfortunately, the way in which the qualities of characters
are presented exploits the use of violence as is common in most of today's cinematic
productions. The relevant or appealing aspects are fundamentally the same. Bonnie and
Clyde live lives that incorporate all of the adventure and wild free spirit that many
wish to emulate. Viewers are able to empathise because of the exploitation of their
humanity rather than in a criminal context. Among the compelling problems are those
involving Clyde's brother and the ever disturbing spectre of Clyde's virginity. In
addition, in order to gain more of the viewers favour, the characters were given simple
underprivileged backgrounds. This eased the audiences guilt in readily accepting the
criminal aspects of the main characters lives. That which should be seen as horrifying
is made acceptable through the use of humour. By making parts of the life and times of
Bonnie and Clyde funny, the audience is able to accept that the criminals may not be as
depraved as they thought. After all, all share the same appreciation. The film depicts
the life of crime with a flare for the romantic. Day and night share unencumbered skies.
The visit with family and friends is depicted as light fun full of laughter. What could
possibly be wrong with an idyllic life full of fame, fortune and family at a time when
people were losing their houses and sleeping in the car?
Bonnie and Clyde fall in love at first sight, together to the end, fighting for each
others honour and gazing into each others eyes just before the onslaught of lead from the
symbolic bad guys. Of course we all know that their lifestyle is abhorrent but it is
difficult not to seek out and accentuate the positive of their psyche. They don't have
to be sympathetic to the little man, but they are. The characters are developed to
enable them to justify what they are doing by their simple wish to be able to afford to
exist. `Some people are carpenters and others are robbers' is the unexpressed emotion.
By this we perceive a lack of intent to harm and an inability to differentiate. Clyde
ratifies this inability by his response to the question: " If you could do it all again,
how would you change things?". His reply "Live in one state and commit crimes in the
other.".
With relation to the gangster film the genre exhibits constant evolution. The basis of
the gangster film lies in the progression thought the ranks of the hood to eventually try
to gain power and usurp the organisation. The film usually ends in a great shoot out
where the law has finally caught up with the villain, ending in the death or ultimate
demise of the gangster. The development of the genre is of utmost importance to the
production of films. Audiences do not want to see the same movie over and over. They
only want to see the same type of movie. To accommodate this Hollywood tends to exploit
the history and events of the era.
The development and evolution of the genre can follow many different routes. Events in
history have been of great influence in changing the classical genre film styles. The
evolution of the women's movement, the roles of the family and the portrayal of war
after WWII are some major examples. As we saw in White Heat the use of the A-bomb was
integrated into the final shot of Cody Jarret. The great depression in the mid-west was
the setting for the rural gangsters of Bonnie and Clyde: a film that changed the way the
classical gangster was viewed. Earlier gangsters were all powerful and strived to be
omnipotent. They had the money and the power to corrupt. With Bonnie and Clyde we see
two gangsters who are really only trying to survive. The Gangster is portrayed with a
good side by the protection and favours afforded the little man. The earlier gangster
was one who terrorised all whom he encountered and terrorised all classes. By their
actions Bonnie ans Clyde are given a status befitting Robin Hood; taking from the banks
but not the poor.
Although the actions of the Gangster cannot be condoned, there is an uncontrollable urge
to sympathise with him. In many ways one has to feel sorry for the man who knows nothing
more than a life of crime, always running from the law and ultimately dying full of fear.
One of the main reasons that we sympathise with the gangster, for a short time, may be
the inherent knowledge of what is likely to happen. We are not sure of how the events
will unfold but we have an idea that they will develop against a definable set of
guidelines. This knowledge gives the viewer the upper hand and therefor might be
responsible for the sympathies afforded the villain. From an even broader point of view
one could argue that if the viewer has an idea of the events that will unfold before
entering the film, then undoubtedly if those events are not the ones s/he is looking for
in an abstract way, dissatisfaction may prevail. In the same instance, the viewer may be
ready for an adventure of expectations and has prepared him/herself to be ready to
sympathise with the villain or gangster. The motivations could be one of many and may
not even occur during the film but may have been learned as a genre throughout years of
viewing.
Acceptance of criticism of abhorrent criminal behaviour is impossible to defend but the
ability to imagine is a characteristic of which every human is capable. The problem lies
in how far the imaginary is allowed to rule the realistic. Most of us wish that we could
have the experience, the feelings of adventure and unrestricted freedom portrayed in
Bonnie and Clyde but that gives us no reason to rob banks.
The sympathies that are felt for the characters can for the most part be generalised by
saying that the "principle" of the film is most often the character that receive the
greatest attention. This is fundamental in the understanding of a film and in the
deliverance of a story. The apparent identification with characters of certain types of
films is totally dependent upon the desires and expectations of the viewer. It is the
ability of the audience to identify with the central characters of a film that keeps them
watching. The use of the imagination or a simple wish to be exposed to other
possibilities are the fundamental reasons for entertainment. The criticisms being
aroused by those who are opposed to the way in which crime is occasional depicted,
believe that real life and the stories told by films are becoming increasingly similar.
The criticism can be justified in some respects but by justifying these criticisms there
is an implied ignorance for the individual intelligence of the general population .
Bibliography
David Bordwell, Kristin Thomson, Film Art an introduction: McGraw-Hill,Inc.:University of
Wisconsin,1993.
Graeme Turner, Film as Social Practice: Routledge, 1993.
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