The inherent subjectivity of Expressionism is also evident in film noir’s use of narration and flashback. An omniscient, metaphor-spouting narrator (often the central character, a world-weary private eye) frequently clarifies a characteristically labyrinthine noir plot or offers a subjective, jaded point of view. In other films—such as Welles’s Citizen Kane and Wilder’s Double Indemnity and Sunset Boulevard (1950)—the denouement (often the death or downfall of the central character) is revealed in the opening scenes; flashbacks then tell of the circumstances that led to the tragic conclusion. Tension and suspense are increased by the use of all-knowing narrators and flashbacks, in that the audience is always cognizant of impending doom.
Robert-Mitchum-and-Virginia-Huston-in-Jacques-Tourneurs-Out-ofRobert Mitchum and Virginia Huston in Jacques Tourneur’s Out of the Past …[Credits : The Kobal Collection/RKO]
Humphrey-Bogart-with-Ward-Bond-and-Barton-MacLane-in-JohnHumphrey Bogart (centre) with Ward Bond and Barton MacLane in John Huston’s The …[Credits : The Everett Collection]
Robert-Wienes-The-Cabinet-of-DrRobert Wiene’s The Cabinet of Dr. Caligari (1920) exerted a strong …[Credits : Everett Collection, Inc.]
Joan-Bennett-and-Edward-G-Robinson-in-Fritz-Langs-TheJoan Bennett and Edward G. Robinson in Fritz Lang’s The Woman in the …[Credits : The Kobal Collection/RKO]
John-Garfield-and-Lana-Turner-in-Tony-Garnetts-The-PostmanJohn Garfield and Lana Turner in Tony Garnett’s The Postman Always Rings …[Credits : The Everett Collection]
Jean-Luc-Godards-Breathless-with-Jean-Paul-Belmondo-and-JeanJean-Luc Godard’s Breathless (1960), with Jean-Paul Belmondo and Jean …[Credits : Everett Collection, Inc.]
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