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Introduction
Stranger on the Third Floor (Ingster, 1940) is considered one of the earliest examples of film noir. Boris Ingster was a Russian-American screenwriter, who shot the film on a shoestring budget and was forced to use creative techniques to make the most of what he had to work with. The film was met with mixed reviews upon its release, with some critics praising its atmosphere and suspense and others finding fault with its plot and acting. Despite its mixed initial reception, the film has since come to be regarded as a classic of the genre, and its influence can be seen in subsequent noir films. The films success helped pave the way for other noir films, and Ingster is considered one of the genres pioneers. Stranger on the Third Floor is endowed with little historical significance but plays a big role in the noir genre of the classical period.
Noir and Non-Noir Characteristics
Film noir is an American film genre that is characterized by a dark, cynical worldview and often has elements of crime and violence and themes of betrayal and corruption (Kuoshu 5). Stranger on the Third Floor is a film noir in the classic mode. It tells the story of a newspaper reporter who witnesses a murder and then tries to solve the case. The film noir elements are present throughout the movie but a few scenes, in particular, exemplify these characteristics. One such scene is when Peter follows the killer through the city streets (Ingster 00:33-00:35). The city is depicted as dark and dangerous, with shadows cast everywhere, creating a sense of paranoia and unease, which is typical of film noir. Another scene that highlights the genres elements is the movies climax when the police corner the killer in an abandoned building (Ingster 1:08-1:10). The scene is full of tension and suspense, and the characters struggle against their fate. The movie ends with a classic film noir twist when the killer is revealed to be a police detective. This twist highlights the genres cynical view of society and its characters.
There are some non-noir elements in the film as well. The reporter is an active, resourceful protagonist who investigates the murder and eventually catches the murderer (Ingster 1:15-1:20), and the film does not dwell on the dark side of human nature. Instead, it focuses on the reporters investigation and the murderers eventual capture. Moreover, the film has a comedic touch, with several scenes played for laughs (Ingster 1:27-1:30). However, these elements are not enough to outweigh the films noirish qualities.
Elements of Noir Content in Movie in Terms of Form and Content
In Stranger on the Third Floor, there are several elements of noir content in terms of form. One of them is the use of light and shadow to create a sense of unease and suspense. Throughout the film, there are scenes with heavy shadows and dark corners. It balances with the content creating a feeling of menace and danger during the specific parts of a storyline. Another element of the noir form in this film is the use of voice-over narration. For instance, the film opens with a shot of a dark street at night. We hear Peters voice off-screen as he talks about the strange events that took place. It also balances with the content since the technique allows viewers to hear the thoughts of the main character as he tries to make sense of the strange events around him.
In terms of content, Stranger on the Third Floor also has several noir elements. One of them is the presence of a femme fatale. The character of Ann first introduced in a bar scene is a beautiful woman who seems to be involved in the murders (Ingster 1:34-3:50). She is a form of desire for both Peter and the killer that emphasizes the plot confrontation of the characters. Another element is the use of flashbacks to create a sense of paranoia (Ingster 24:10-24:12). This balances with the content since the technique usually uses a voice-over to explain the actions of the hero.
German Expressionism
German Expressionism is a film movement that emphasizes the expression of inner emotions rather than simply portraying reality. This is often done through shadows, distorted images, and unique camera angles. Several scenes in the film Stranger on the Third Floor display German Expressionism. For example, when the protagonist, Peter, is interrogated by the police, the scene is shot from below, making him appear larger and more intimidating (Ingster 38:58-39:05). Moreover, German Expressionism influenced the film noir genre by focusing on the psychological aspects of its characters, as seen in the third and in the character of Harry Lime, a complex and enigmatic figure whose motivations are never apparent (Napper 25). Understanding German Expressionism can better appreciate how it informed the film noir genre.
Conclusion
Stranger on the Third Floor (Ingster) is a classic film noir that is still relevant today. The film is about a reporter, Peter Horn, investigating a murder. He is convinced that the murderer is a man named Tony Wendice. However, he cannot prove it, and the police are not interested in his theory. The film is still relevant today because it deals with the issue of justice. The film asks whether it is more essential to convict the right person or let the guilty person go free, which is still a relevant question today, as there are cases where the wrong person is convicted, and the guilty person goes free. The film is also relevant because it deals with the issue of trust, which is a significant theme in the film, as Peter has to decide whether to trust Tony or not. This is still relevant today, as trust is a significant relationship issue. However, the film is dated in some ways. The film is set in the 1940s, so it is not as relevant to todays audience. Additionally, the film is relatively slow-paced by todays standards.
Works Cited
Ingster, Boris. Stranger On The Third Floor. RKO Radio Pictures, 1949.
Kuoshu, Harry H. Introduction: Crazy Stone Phenomenon and Chinese Neo-Noir Comedies . Craziness and Carnival in Neo-Noir Chinese Cinema, 2021, pp. 1-36. Springer International Publishin.
Napper, Lawrence. 2. Germany-Beyond Expressionism. Silent Cinema. Columbia University Press, 2019. 23-49.
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