Ahem. I would like to say that, as of this time and place, I declare myself to be officially obseesed with the noir genre. More specifically, this is turning my thought processes into a comparative Neo-Noir analysis. I blame thank Feisty for this.

Neo Noir is post 1959 film noir with a twist. Several twists actually. No longer do the storylines revolve merely around tough guys and femme fatales. These characters have an added dimention to them that defies the objective nature of their predecessors. It is all so very subtle though, that this requires further pondering on my part before I deign to make any qualitative statements of value.

Ah well, since I cannot resist a brief plug for the master of post-modern noir, Mr. Tarantino, as he is included in the genre with virtually every movie he’s been involved with. In particular, Pulp Fiction, Jackie Brown, and Reservoir Dogs are deserved of the classification. As to Kill Bill, don’t even get me started…you’ll beg me to shut up.

Among other Neo-Noir honorables include Body Heat and Kings of New York , the 1990 Christopher Walken movie, not that recent Leonardo DiCaprio silliness. Not to mention the hardened detective of 1971, Dirty Harry with his infamous noir-like indifference: “You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya punk?”

Dishonorables: The Suicide Kings and Memento. These movies are pathetic examples of trying to delve too shamelessly into the psyche of the so-called protaganistic characters. Both movies should be shredded and dragged naked through the streets as far as this doll is concerned. Let the howling begin.