by Mark Osteen
Meyer, Leonard, 128
Meyerowitz, Joanne, 186
Mijolla, Alain de, 22
Miklitsch, Robert, 275n25
Mildred Pierce, 188–91, 216, 280nn7–10
Milestone, Lewis, 228, 285–86n3, 286n7, 287n22
Millet, Jean-Francois, 127–28, 274n22
Mills, Katie, 134
Minturn, Kent, 272–73n1, 274n21
mirrors, 62, 96, 116, 117, 119, 125
mise-en-scène, 31, 189, 234, 256, 285n51
mistaken identity. See switched-identity films
Mitchell, David T., 77, 78, 270n5
Mitchum, Robert, 54, 85
mobility, 3, 15, 47, 140
automobiles and, 134, 137, 142, 143, 144
class, 2, 58, 62
and identity, 20
social, 3, 4, 12, 16, 141, 189. See also upward mobility
modernist art, 127, 274n23
modernity, 3, 4–5, 14, 150–51
Moffat, Kathie, 185
money, 62, 170–71, 260
Monroe, Marilyn, 241
Moorehead, Agnes, 66, 208
More Than Night (Naremore), 14
motherhood, 17, 149, 186, 187–88, 191, 214
Motion Picture Alliance for the Preservation of American Ideals (MPAPAI), 222, 228, 287n20
Motion Picture Association of America, 222
Munby, Jonathan, 236, 288–89n32
Murder, My Sweet, 77, 266n26, 275n1
Murray, Albert, 173
music: in The Big Combo, 174–75
in Black Angel, 166, 278n17
blues, 156–58, 160, 167, 177, 179, 182
crime jazz scoring, 174, 279n29
and flashbacks, 161–62
inaudibility of, 154, 276n2
and memory, 163, 169
in Nightmare, 167
in Nocturne, 163–64
swing, 156, 158, 174, 178, 277n7. See also jazz
My Name Is Julia Ross, 48, 58–60, 267nn6–9
Nadelson, Theodore, 88, 99, 101
Naked City, 226–27, 287n16
Naremore, James, 13, 14, 224, 291n2
Navasky, Victor, 223, 224
Neale, Steve, 12, 187, 264n11
negative footage, 19, 264n1
Nelson, Ralph, 196
Ness, Richard, 110
Neve, Bria, 287–88n23
Nichols, Dudley, 122
Night Holds Terror, The, 147–48
Nightmare, 167–68, 278n19
Nightmare Alley, 1, 6–10, 249, 263–64nn2–6
on identity and mobility, 11, 15
nightmares. See dreams
Night Shift (Wolff), 180
Nocturne, 163–65, 191, 278n16
No Man of Her Own, 48, 60–65, 267–68nn11–20
and censors, 64, 268n19
source novel for, 61, 62, 64, 268n13, 268n17
Norden, Martin, 270n1
Notorious, 13
Not Wanted, 214, 277–78n15, 285nn48–49
objectivity, 16, 107
O’Brien, Edmond, 50, 146, 149, 160, 216
Odds against Tomorrow, 172–74, 278–79nn24–28, 289n39
O’Donnell, Cathy, 81, 138, 138
oedipal complex, 24, 25–26, 27, 28, 263n3
Oliver, Kelly, 14, 264n2
Ophuls, Max, 211, 284n42
organized crime, 220, 234–35, 240–41, 289–90nn41–42
originality, 106, 107, 127
and forgery, 107, 127–28, 129–30, 131
Ornitz, Samuel, 286n7
Orr, John, 3
Osborne, Robert, 267n9
outlaw road movies, 135
Out of the Past, 5, 48, 54–58, 77, 266n26, 267nn4–5
Outrage, 203–4, 283nn35–36
Pagano, Jo, 180, 250, 279n36
Painter’s Daughters, The, 130, 275n28
Palmer, R. Barton, 207, 283n37
Parker, Eleanor, 207, 209
Parker, Francine, 215
Parks, Larry, 286n7
Parsonnet, Marion, 193
past, 20, 37, 48, 105, 259
and future, 94
and present, 5
patriarchy, 17, 204, 205
Patrick, Jack, 287n21
Paxton, John, 84, 86
Peck, Gregory, 37, 266n21
Pegler, Westbrook, 290n48
Pelizzon, V. Penelope, 72, 73, 74, 269n26
Perry, Eleanor, 188
Petrified Forest, The, 25
Pevney, Joseph, 164, 227, 231
Phantom Lady, 159, 171, 192, 271n20, 272–73n1, 277nn9–12, 281n12
photography, 9, 82, 139
and cinema, 73, 76
Piano in the Band (Curran), 276–77n4
picaro figure, 143, 276n11
Pichel, Irving, 286n4, 286n7
Planer, Franz, 31
Polan, Dana, 65, 69, 268n21
Polonsky, Abraham, 17, 220, 289n34
blacklisting and wiretapping of, 224, 238, 289n35
and Body and Soul, 231, 234, 288n26, 288n30
and Force of Evil, 234, 238, 289nn35–36
and Odds Against Tomorrow, 278n24, 278–79n27
Popular Front, 87, 221, 271n15, 276–77n4
Porfirio, Robert, 159, 160
portraiture films, 4, 16, 106, 131, 261, 272–73n1
La chienne, 106, 116, 119–22, 126, 274n17
The Dark Corner, 106, 113–15, 273nn9–11
I Wake Up Screaming, 106, 107–9, 115
Laura, 106, 109–12, 273nn3–8
Scarlet Street, 106, 116, 122–26, 274nn19–20
Vicki, 115–16, 274n13
The Woman in the Window, 36, 106, 116–19, 266n19, 274nn14–18
Possessed, 205–7, 283–84nn37–39
Postman Always Rings Twice, The, 133
posttraumatic stress disorder (PTSD), 33, 170, 272n32, 279n38
in vet noir films, 79, 82, 85–86, 88, 89, 90, 98
postwar period, 20, 82, 135, 217–18
anxieties of, 12, 13, 78, 97
and automobiles, 133–34, 152
and identity, 4, 5, 97
and jazz, 12, 154, 155, 158, 163
and memory, 104, 105
paranoid atmosphere of, 97, 221, 226
Preminger, Otto, 110, 174, 273n8, 274n14
press. See media
Prime, Rebecca, 226
prison, 75, 136, 207–10, 211
Prowler, The, 239–40, 255–60, 291nn5–6
American Dream in, 221, 249–50
psychiatrists and psychiatry, 6, 11, 22, 23, 202, 211
and patients’ agency, 98, 205
psychoanalysis, 2, 5, 73–74
and detective work, 22, 39, 264n5
in dream films, 21, 22, 24, 25, 37, 38, 41, 42, 266n25, 266nn21–22
in femme noir films, 206–7, 284n39
in Nightmare Alley, 8, 9, 10
Public Enemy, The, 4
pursuit of happiness, 1, 3, 5, 48, 76, 107, 260
and American Dream, 2, 17
and consumerism, 6, 249
Quart, Barbara Koenig, 215
Raft, George, 164, 165
Railroaded!, 281n18
Raines, Ella, 34, 159, 192
Rainey, Ma, 180
Raksin, David, 110, 174, 289n36
rape, 201, 202–4, 282–83n28
Raphael, 273n10
Ray, Nicholas, 137
Reagan, Ronald, 222
realism, 80, 225, 231
reality, 33
and representation, 107, 108, 131
redemption, 20, 47, 211
returning veterans and, 95, 96, 97, 99
“red noir,” 224–25, 247, 249
Body and Soul, 5, 220, 231–34, 249, 288nn24–30
Brute Force, 225–26, 287n15
Force of Evil, 220, 234–39, 249, 288–89nn32–36
Naked City, 226–27, 287n16
The Prowler, 221, 239–40, 249–50, 255–60, 291nn5–6
The Strange Love of Martha Ivers, 220, 228–31, 287–88nn
20–23
Thieves’ Highway, 220, 227–28, 287nn17–19
Try and Get Me!, 221, 239–40, 250–55, 291nn2–4
The Underworld Story, 221, 245–47, 249, 290n46, 290nn49–50
red scare and witch hunt, 11, 100, 222, 240, 286n10
fight against, 222–23, 244–45, 255
mass media and, 224, 245, 290n48
paranoid atmosphere during, 12, 97, 221, 226. See also blacklist
reenactment, 79, 80, 162
in vet noir films, 88, 99, 102, 103–4
Reis, Irving, 129
religion, 5, 8, 10
Renoir, Jean, 106, 119, 120
Renov, Michael, 186
representation, 16, 106–7, 124
and reality, 107, 108, 131
Reville, Alma, 191
Richards, Robert, 97, 101, 272n30
Richards, Silvia, 188, 205, 210, 272n30, 283n37
and HUAC, 223
Ride the Pink Horse, 77, 88, 90–92, 191, 271nn19–21
Ringel, Shoshana, 264n5
Ripley, Arthur, 31
Rivkin, Allen, 283n29, 283n34
Road House, 181–84
Roberts, Allan, 281n16
Roberts, Bob, 231
Roberts, Marguerite, 188
Roberts Production, 231
Robert Stillman Productions, 250
Robinson, Edward G., 106, 116, 117, 132, 167
Rogers, Shorty, 174, 279n29
Romm, May E., 266n21
Rooney, Mickey, 170, 171
Ross, Barney, 288n26
Rossen, Robert, 17, 156, 220, 228, 231, 285n3, 288n30
and HUAC, 223, 286n7
Rothberg, Michael, 80
Rudolph, Eleanor, 163
Rugolo, Pete, 174
Russell, Harold, 270n1
Ruthven, K. K., 120
Ryan, Robert, 84, 85, 100, 172, 211, 213, 288n27
Sagoff, Mark, 128
Salt, Waldo, 286n7
Santos, Marlisa, 43, 49–50, 59, 72, 93, 94
Scarface, 4
Scarlet Street, 106, 116, 122–26, 274nn19–20
Scheib, Ronnie, 204, 283n36, 285n54
Schoenfeld, Bernard, 284n41
Schwartz, Hillel, 124, 130
Scott, Adrian, 84, 86, 271n15, 285–86n3, 286n7
Scott, Lizabeth, 89, 229
Screen Actors Guild, 222
Screen Writer, 286n6
screenwriters: and blacklist, 222, 223, 224, 255
and control over product, 215, 224, 286n6
women as, 58, 180, 187, 188, 192, 214
secrets, 228–29, 230–31
Seiter, Ellen, 216, 285n55
Sekely, Steve, 70, 75
self-division, 53–54, 65–66
self-reflexivity, 67, 106, 116
self-reinvention, 3, 5, 37, 48, 69, 123, 249
after trauma, 80, 261
and American Dream, 45, 79, 105, 115, 250
and dreams, 20, 21, 37, 47
Emerson and Franklin on, 2–3, 47, 92
noir critique of, 2, 4, 15–16, 20, 47, 76
in Out of the Past, 54–55, 58
portraiture films on, 15, 107, 112, 113, 131
in Spellbound, 38, 39, 42, 43
vet noir films on, 79, 91–92, 95, 97, 101, 105, 142
Selznick, David O., 266n27
Set-Up, The, 231, 288n27
sexuality: The Accused on, 199, 201
automobiles and, 135, 137, 140
female, 169, 197, 199, 201, 203, 214, 217
Gilda on, 193, 194, 195, 197
jazz and, 16, 154–55, 159, 160–61, 165, 175, 176, 277n9, 277n11
marriage and, 193, 195, 203, 217
Outrage on, 204, 283n36
Shadoian, Jack, 4, 51, 150, 276n9
Shane, Maxwell, 167
Shaw, Artie, 156
Shell, Marc, 62
She Wouldn’t Say, 196
Shockproof, 136, 137
Simmel, Georg, 228–29, 240–41, 243
singers, 16–17, 94, 96, 164, 179, 279n35
in The Man I Love, 179–80
in Road House, 182–83
Siodmak, Robert, 34, 37, 50, 159, 160, 200
Sirk, Douglas, 137
Smith, Art, 91, 225, 232, 251, 255
Smith, Bessie, 180
Snyder, Sharon L., 77, 78, 270n5
social mobility. See mobility
social realism, 225, 231
sodium pentothal, 98, 130, 272n26
Sokolsky, George, 290n48
Somewhere in the Night, 78, 79, 92, 93–95, 97, 271–72n23
sovereignty, 211, 217
automobiles and, 143, 145
Soviet Union, 12, 104
Sparshott, Francis, 124
Spellbound, 37–44, 63, 266nn23–27
dream sequence in, 40–43, 266n24
patronization of women in, 45, 203
psychoanalysis in, 37, 38, 41, 42, 266nn21–22, 266n25
Spencer, Nicholas, 13, 273n6
Spicer, Andrew, 281n17
Stanfield, Peter, 156, 179
Stanwyck, Barbara, 60, 132, 189, 199, 268n13
States, Bert, 22, 41, 265n9
Stillman, Robert, 253, 290–91n3
Stone, Andrew, 147
Strange Affair of Uncle Harry, The, 5, 34–37, 191, 266n19, 274n15
dream sequence in, 34, 36–37, 44, 45
Strange Illusion, 25–28, 27, 44, 45
Strange Love of Martha Ivers, The, 228–31, 287–88nn20–23
on class oppression and hierarchy, 220, 228, 230, 287n22
Stranger on the Third Floor, 21
Straw, Will, 12
Street of Chance, 48–50, 271n22
strikes, 12, 222, 264n10
Strip, The, 170–72, 178, 278nn20–23
subjectivity, 3, 16, 107, 163
suicide, 29, 50, 60, 165, 168
surveillance, 42, 65, 148, 204
red scare and, 97, 100, 245
Susman, Warren, 11
Sweet Smell of Success, 176–78, 279nn31–33
swing music, 156, 158, 174, 178, 277n7
switched-identity films, 15, 47, 48, 49, 76, 107, 142, 266–67n1
Dark Passage, 48, 65–69, 268–69nn22–23
Hollow Triumph, 48, 69–76, 120, 249, 269nn25–29
The Killers, 48, 50–54, 266n26
My Name Is Julia Ross, 48, 58–60, 267nn6–9
No Man of Her Own, 48, 60–65, 267–68nn11–20
Out of the Past, 5, 48, 54–58, 77, 266n26, 267nn4–5
Street of Chance, 48–50, 271n22
syndicate films, 288–89n32
Talman, William, 145, 146, 289n38
technology, 2, 100, 147, 150, 153
Telotte, J. P., 65–66, 69, 240
therapeutic ethos, 2, 5, 6, 22–23, 249, See also psychoanalysis
therapy, 5, 22, 157, 206–7, 284n39
They Live by Night, 136–39, 158
Thieves’ Highway, 220, 227–28, 287nn17–19
Thieves’ Market (Bezzerides), 227
Tierney, Gene, 109, 112
Together Again, 196
Toland, Gregg, 82
Tourneur, Jacques, 54
trauma, 26, 44, 78, 79, 97–98, 100
in dreams, 26, 42–43, 44
and flashbacks, 80
and memory, 87, 98, 261
and reenactments, 88, 102
and reinvention, 93. See also posttraumatic stress disorder (PTSD)
Trigo, Benigno, 14, 264n2
Trojan horses, 16, 135, 148, 149, 151
Truesdell, June, 202, 203, 282nn26–27, 283nn32–33
Trumbo, Dalton, 17, 220, 285–86n3, 286n6
blacklisting of, 223, 244
and Gun Crazy, 141, 276n9
and Hollywood Ten, 221, 276n9, 286n7
and The Prowler, 221, 255, 256
truth, 77, 98, 119, 130, 272n26
Try and Get Me!, 221, 239–40, 250–55, 291nn2–4
and censors, 254, 291n4
Turney, Catherine, 188–89, 267–68n11
and The Man I Love, 61, 180, 268n12, 268n16
and No Man of Her Own, 58, 61, 64
Two Mrs. Carrolls, The, 272–73n1
Ulmer, Edgar G., 25, 142, 265n12, 277n14
Underworld Story, The, 221, 245–47, 249, 290nn49–50
and censors, 290n46, 290n50
United States v. Paramount, 14, 223
upward mobility, 2, 4, 5, 11, 60, 144, 249
and American Dream, 10, 63, 231, 259
automobility and, 142, 261
convertibles as emblem of, 275n4
crime and, 63, 220–21, 259
jazz and, 155, 171
Van Upp, Virginia, 191, 192–93, 196–97, 215
Vaughan, Benjamin, 2
verticality, 55, 272n27, 287n22
Veteran Comes Back, The (Waller), 80–81
veterans: emotional bonds of, 78, 82
readjustment by, 80–86
reintegration of, 80, 105. See also disabled veterans
vet noir, 77–105, 107, 168, 270n5
on American Dream, 93, 97, 100
amnesia in, 77, 78–79, 88, 92, 93–96, 97, 99, 100, 104
flashbacks in, 80, 82, 83
identity in, 77, 78, 82, 89, 96, 97
optimism in, 249, 261
PTSD in, 79, 82, 85–86, 88, 89, 90, 98
on reenactment, 88, 99, 102, 103–4
restitution and revenge in, 86–92
on self-reinvention, 79, 91–92, 95, 97, 101, 105, 142
violence in, 103, 105
vet noir films: Act of Violence, 78–79, 97, 100–104, 187, 272nn30–31
Best Years of Our Lives, 13, 77, 81–82, 270n1, 287n20
The Blue Dahlia, 78, 82–84, 270nn9–11
Cornered, 78, 86–87, 271nn15–17, 285–86n3
The Crooked Way, 78, 95–97
Crossfire, 84–86, 270–71nn12–14
Dead Reckoning, 88–90
Ride the Pink Horse, 77, 88, 90–92, 191, 271nn19–21
Somewhere in the Night, 78, 79, 92, 93–95, 97, 271–72n23
Vicki, 115–16, 274n13
Vidor, Charles, 194, 264n1
violence, 11, 28, 53, 58, 84, 85
jazz and, 154, 155, 161, 165, 168
vet noir films and, 103, 105
vision motif, 27, 29
Vogel, Paul, 272n27
Wagner, Dave, 224, 233, 290n47
Wald, Jerry, 188, 197, 207, 281n19
Wald, Malvin, 215, 285n50, 287n16
Waldman, Diane, 274n23
Waldorf Statement, 223
Walker, Gertrude, 188, 197, 281n18
Wallace, Henry, 224, 286n11
Waller, Willard, 80–81, 270n8
Wallis, Hal, 199
Walsh, Raoul, 179, 180
Wanger, Walter, 121–22
Warner Bros., 188, 207, 280n10
Warwick, James, 264n1
Waxman, Philip, 265n14
Webb, Clifton, 109, 114
Weidman, Jerome, 197
West, Nancy, 72, 73, 74, 269n26
Wexley, John, 271n17
White Heat, 148–49, 187
Whorf, Richard, 156, 277n5