Nightmare Alley - Film Noir And The American Dream (62 page)

in postwar period,
4
,
5
,
97

in switched-identity films,
39
,
42
,
48
,
50

in vet noir films,
77
,
78
,
82
,
89
,
96
,
97

women and,
58
–59,
60
,
198
,
210

writing as certification of,
39
,
63

I Married a Dead Man
(Woolrich),
61
,
62
,
64
,
268
n13,
268
n17

immigrants,
4
,
37
,
76
,
93

returning vets feeling like,
81
,
82
,
93

and switched-identity films,
48
,
266
–67n1

individualism,
76

and alienation,
69
,
249

and American Dream,
4
,
135

and community,
3

Dark Passage
on,
69
,
261

Hollow Triumph
on,
249
,
261

ideology of,
2
,
48

noir critique of,
4
,
15
,
107
,
221
,
260
,
261

informers,
149
,
226

in
Act of Violence
,
100
,
101
,
104

during blacklist era,
223
,
290
nn43–44

in
Force of Evil
,
237
,
239

Ingster, Boris,
21

innocence: and evil,
140

lost,
92
,
97
,
170
,
243

International Alliance of Theatrical Stage Employees (IATSE),
222

isolation,
48
,
77
–78,
92

automobiles and,
133
,
134

I Wake Up Screaming
,
106
,
107
–9,
115

I Want to Live
,
174
,
278
–79nn26–27

Jaffe, Sam,
202
,
240

Jameson, Fredric,
5
–6

Jarrico, Paul,
285
n48

jazz,
154
–84

and American Dream,
170
,
174

big-band,
175

and blackness,
16
,
154
,
155
,
160
,
161
,
166
,
178
,
180

crime jazz,
174
,
279
n29

and cultural anxieties,
154
,
161
,
176

in
Detour
,
161
,
162

and disability,
154
,
168

improvisation in,
155
,
162
,
173
,
180
,
182

New Orleans–style,
158
–59,
167

noir association with,
16
,
154

and postwar world,
12
,
154
,
155
,
158
,
163

as quintessentially American,
155
,
184

as rebellion,
161

respectability and legitimacy of,
172
,
179

and sexuality,
16
,
154
–55,
159
,
160
–61,
165
,
175
,
176
,
277
n9,
277
n11

as symbol of otherness,
154
–55

tolerance and idealism in,
16
–17,
170
,
279
n33

unsavory connotations of,
17
,
155
,
159
,
171
,
174
,
175
,
176
,
178

and violence,
154
,
155
,
161
,
168

jazz films,
162
,
168
,
249

The Big Combo
,
77
,
174
–76

Black Angel
,
165
–67,
278
n17

The Blue Gardenia
,
168
–70

Blues in the Night
,
156
–58,
277
nn5–6

Criss Cross
,
160
,
277
nn11–12

Dead on Arrival
,
160
–61,
171

The Man I Love
,
179
–81,
188
,
279
–80nn34–39

Nightmare
,
167
–68,
278
n19

Nocturne
,
163
–65,
191
,
278
n16

Odds against Tomorrow
,
172
–74,
278
–79nn24–28,
289
n39

Phantom Lady
,
159
,
171
,
192
,
271
n20,
272
–73n1,
277
nn9–12,
281
n12

Road House
,
181
–84

The Strip
,
170
–72,
178
,
278
nn20–23

Sweet Smell of Success
,
176
–78,
279
nn31–33

jazz musicians,
163
,
168
,
178
,
179

as childlike and weak,
157
,
170
,
183

as effeminate,
155
,
163
,
277
–78n15

female singers,
16
–17,
179
–80,
183
–84

as idealistic,
179
,
279
n33

and interracialism,
16
,
177
,
278
n20,
279
n33

and mental disturbance,
16
,
155
,
163
,
277
–78n15

whites as,
16
,
155

Jews,
155
,
277
n5

Johnson, Nunnally,
274
n16

Johnston, Eric,
222

Jolson, Al,
156

justice,
29
,
30
,
254

Kahn, Gordon,
286
n7

Kalinak, Kathryn,
154
,
155
,
273
n4,
273
n8

Kaminsky, Stuart,
289
nn37–38

Kaplan, E. Ann,
274
n17

Karlson, Phil,
289
n39

Kazan, Elia,
223
,
277
n5

Kellogg, Virginia,
188
,
207
,
210
,
284
n41

Kemp, Philip,
11
,
224
–25,
286
n12

Kenton, Stan,
279
n29

Killens, John O.,
278
n24

Killers, The
,
48
,
50
–54,
266
n26

Kiss Me Deadly
,
5
,
150
–52,
158

Kitses, Jim,
141
,
276
n10

Koch, Howard,
286
n7

Kracauer, Siegfried,
264
n3

Krutnik, Frank,
11
,
24
,
78
,
271
n16,
285
–86n3

Kubrick, Stanley,
289
n39

Kuhn, Annette,
215

Lackey, Kris,
134
,
276
n11

Laderman, David,
276
n12,
276
n14

lam films,
135
–42,
275
n6

Gun Crazy
,
5
,
136
,
140
–42,
187
,
276
nn9–10

Shockproof
,
137

They Live by Night
,
136
–39,
158

Lancaster, Burt,
50
,
52
,
160
,
177
,
225

Lang, Fritz,
123
,
136
,
168
,
254

and
La chienne
,
121
–22,
123
,
125

and
Scarlet Street
,
106
,
116

and
Women in the Window
,
36
,
106
,
116
,
119
,
274
n16

Lardner, Ring, Jr.,
265
n13,
286
n7

Latimer, Jonathan,
278
n16,
283
n34

Laura
,
106
,
109
–12,
273
nn3–8

musical theme play in,
110
,
273
n5

Laurents, Arthur,
211
,
284
n42

Lawrence, Marc,
240
,
290
n44

Lawson, John Howard,
224
,
285
–86nn3–4,
286
n7

Lears, Jackson,
4
–5

Lebeau, Vicky,
21

Lederer, Charles,
271
n19

Lee, Canada,
224
,
232
,
288
n29

Leff, Leonard,
273
n3

leftist filmmakers.
See
Hollywood Left

Leigh, Janet,
100
,
102

Leisen, Mitchell,
61

Levine, Lawrence,
156

Lewis, John,
172

Lewis, Joseph H.,
140
,
174

Little Caesar
,
4

Look Homeward, Angel
,
282
n21

Loos, Anita,
281
n13

Lorre, Peter,
31
,
34
,
166

Los Angeles,
71
,
132
–33,
150
,
171

Losey, Joseph,
17
,
28
,
220
,
249
–50

and blacklist,
224
,
256
,
265
n15

and
The Prowler
,
255
,
256
,
260
,
291
n5

Lott, Eric,
155

Lovejoy, Frank,
146
,
250

loyalty oaths,
223
,
286
n10

Luckhurst, Roger,
79
,
270
n4

Lupino, Ida,
17
,
214
–15,
218
,
280
n40

as actress,
179
,
180
,
181
,
182
,
183
,
214
,
279
n34

and
The Bigamist
,
211
,
215
,
218
,
285
n53

and
The Hitch-Hiker
,
145

and
Not Wanted
,
214
,
215
,
277
–78n15,
285
nn48–49

and
Outrage
,
203
,
204
,
215

lynching,
254

MacDougall, Ranald,
189

machines,
150
,
153
,
243

Macready, George,
58
,
193

Maltby, Richard,
12
,
14

Maltese Falcon, The
,
46
–47,
54
,
90
,
275
n1

Maltese Falcon, The
(Hammett),
46
,
47

Maltz, Albert,
188
,
285
–86n3,
286
n7,
287
n16

Mancini, Henry,
174
,
279
n29

Man I Love, The
,
179
–81,
188
,
279
–80nn34–39

Mankiewicz, Joseph L.,
92

Mann, Anthony,
139
,
281
n18

Man with the Golden Arm, The
,
174

Marin, Edwin L.,
163

marriage,
17
,
86
,
197
,
203
,
205
,
211

The Bigamist
on,
211
,
216
–18,
285
n55

career women and,
196

Caught
on,
211
–14,
284
n46

changing ideas of,
186
–87,
217
–18

as economic arrangement,
211

female filmmakers on,
191
,
214
,
261

and female sexuality,
193
,
195
,
203
,
217

as form of abduction,
59
,
60

Gilda
on,
193
,
195

My Name Is Julia Ross
on,
58
,
59
,
60

No Man of Her Own
on,
63
,
64
–65

as proper women’s role,
186
,
191

Marshall, Herbert,
99
,
130
,
245
,
272
n27

Martin, Angela,
280
n5

Marx, Karl,
227
,
230
,
233
,
235
,
237
,
283
n34

masculinity,
15
,
88
–89,
197
,
214
,
255

automobiles and,
147

in
The Bigamist
,
216
,
217

in
The Big Night
,
28
,
29
,
30
,
45