I don't understand why this is considered a film noir (on here as well as Wikipedia). I don't notice any of the elements that I consider to be associated with film noir.
There are none of the characters generally associated with noir: -femme fatale -detective (or just someone trying to solve a crime/heist/etc.)
None of the plots associated with noir: -no mystery trying to be solved -nobody who is being plotted to be murdered -no grifting -nobody trying to get out of a life of crime -most importantly, it has a happy ending
And there is none of the snappy dialogue, none of the expressionist lighting, and no big city setting associated with noir.
Now it is not necessary to have all of these things, I know (though the lack of shadows/ominous lighting seems to be key), but this film doesn't seem to have any of them. The closest thing to noir is Bogart's character, who has a somewhat dark outlook on life, and is a drifter.
I am by no means a noir expert, and I'm not saying that I didn't enjoy this film (though there are many of Huston's I like better), but just didn't get a noir vibe from it.
Despite what the IMDb labels it, I don't think very many posters on this board consider it "Film noir". If Wikipedia calls it film noir, I think they got it wrong or copied the label from IMDb.
In the end, what does it matter? It is an excellent film and one's enjoyment should not be lessened by labels.
Its not just IMDB or Wikipedia. I have seen Key Largo mentioned by many other sources as a quintessential noir.
And it does not matter as far as affecting the worth of the film. As I said, I enjoyed it, though it's far from my favorite Huston. I am just curious because by including this film in such an important genre makes me wonder whether I understand this genre as well as I thought I did.
Foster Hirsch a film noir expert and author of numerous books including ‘ The Dark Side of the Screen’ a study into 40's/50's noir refers to Key Largo as only 'marginally noir'
I think "marginally noir" is a valid description. Gaye can be viewed as Rocco's "femme fatale" as she provides Frank with the means to destroy him. It may be a "happy ending" for the protagonists but there are eight people dead at the film's end.
I don't think I want to go to the pictures. Oh?Why not? I've seen everything worth seeing.
On one hand, you claim to be “not an expert” but then you list all the reasons why you believe that this film is NOT noir!
The requirements you have listed as defining noir (or as having to be included) are subjective and widely miss the mark.
Rather than trying to define what noir is (to you) and why this film does not fit, how about taking an approach that accepts the word of those who study noir and find this film to be truly representative of excellent noir, and use that as a basis for a more complete understanding of what constitutes “film noir?”
By using the generally accepted definitions (rather than attempting to make your own) you will save much time and aggravation. And, rather than being so sure that Key Largo is NOT noir, why not find out what noir IS rather than what it is not?
How can this not be Film noir? I recently told a friend of mine who considers himself a film buff, but was unfamiliar with the entire genre. Sad I know, but at least I'm trying to get him to watch some quality movies. This was the first noir i told him he should watch. I don't feel this film is the definitive answer to what noir is by any means. It's no Dark Passage.
Urban setting is not a requirement. Out of the past has a lot of non urban scenes especially around the river and forest. Bad day at black Rock is a noir set in a brightly lit dessert far from the urban landscape of the typical noir,
Having a set criteria for noir and rejecting those films that do not meet those criteria would stagnate the form and render it boring turning it into the purview of the B and directed by 2nd tier directors.
Can Gaye be classified as a femme fatale? probably.
The storm itself provides expressionist lighting. The scene when you first see ziggy is pure classic noir farming and lighting. The counting of the money as well. The lighting in the boat provided by the ships instruments.
The Maltese Falcon does not have many shadows in it.
Dialogue?
What's the matter rocco afriad of the storm? Show it your gun and maybe it will go away. (paraphrase)
Is there a tipping point that a film has to meet before it topples over into the noir camp?
I really don't understand your list of noir plots.
I grant many noirs have a mystery but I don't agree with the rest of the list or that it is definitive.
The most important aspect of noir is the moral dilemma. Whats does one more rocco in the world matter(extreme paraphrase).
Noir pops up in the oddest of places.
For a better understanding of what the range of noir encompasses read
Claustrophobic setting in an isolated, remote, shabby hotel.
Alienation: disillusioned veteran and embittered widow
Sadistic gangster reflecting a low opinion of humanity
Unpersuasive "happy" ending
Film noir is not a genre in the regular sense of the term. French critics in the 1950s, looking back at the past decade of American film, noticed that many films had a dark and cynical point of view, both in their look and in their moral universe. So this would be included in any discussion.
People hungry for the voice of god Hear lunatics and liars
Noir is said to reflect the new and hard boiled POV of returning soldiers and citizens involved in the war effort. Societal institutions intended to benefit and protect the citizenry are shown to be corrupt or to have a destructive lethality on those it is supposed to benefit.
Bogart, in true noir style, is a drifter, kind of a looser. His career as an officer should have contributed to his post war success,but it has left him rudderless and in a state of near apathy.
Bogart's reluctance to fight is an explicit outcome of his role in an institutional mechanism. His disgust is with the outcome of his war and the way it was fought. The heroic dead son may have been an unheroic participant in the fight. He didn't die as his father believed. That was a lie. Perhaps Bogart's heroism killed him. Bogart is not happy with his own actions, seems revolted by them. He consistently fails to rise to the occasion.
The authorities arrive on the Key in pursuit of the Indian brothers, perhaps the most innocent characters in the script. The lawman who gets killed dies because of his own recklessness. Bogart's inaction is mistaken for heroism. Recall Bogart's remarks about the emptiness of words? Like heroism. The world in incomprehensible, senseless.
When the cops do take action they kill innocent people. This is all a very dark point of view.
Additionally, the movie is filmed on a set, constantly reinforcing a confined strangling world. Although this is an A list pic it is shot as though a B flick where costs prohibit expensive outdoor shooting and many and varied sets.
Few choices, fate and whimsey form outcomes. The film's conclusion is anti-noir however. He should never have returned alive.
Aspects of noir such as voice over narration, a retrospective telling (Sunset Boulevard, Double Indemnity, D.O.A.),night shots, and etc. aren't present, noir's rules are fluid. It's about spirit, attitude.
FYI Key Largo play written by Maxwell Anderson that became the basis for the 1948 film by the same name.
Original Plot
A deserter of the Spanish Civil War played by Paul Muni redeems himself in death by defending the family of a true war hero against some bandits on the tiny island of Key Largo, Florida.
By my understanding, a noir needs to have one of two elements:
1) A dark cinematic style, with scenes starved for light, tight camera angles, an emphasis on darkness. Before the hurricane hits, scenes in Key Largo are very brightly lighted, much more brightly lighted than bar scenes are in film noir.
2) A plot that emphasizes the downfall of one or more characters (most often the main character) by means of their choices. In Key Largo, Bogie & Bacall are taken hostage and everything that happens follows from that. Key Largo in that regard is much more similar to the gangster movies of the 1930s and the many non-noirs that have followed. Much more typical noir plots would be Niagara, in which the Jean Peters character continues to fall into peril as a result of her continuing to engage with the bad man rather than walk away the many times she has a choice; or Quicksand, in which the Mickey Rooney character makes a downward spiral by repeatedly making bad decisions.
Absent either of these definitive elements, Key Largo does not establish itself as a noir. Certainly, not every movie with crime in it is a noir.
This film is the anti-noir. Bogart repudiates everything about the worldview that we're doomed, and good isn't worth fighting for. He repudiates Rocko's insatiable appetite for "more." Bacall is anything but a femme fatale. This film affirms life, affirms heroism, affirms fighting the good fight.
So I agree with many others here -- don't understand why it gets swept in with noirs sometimes.