Nightmare Alley - Film Noir And The American Dream (64 page)

and detective work,
22
,
39
,
264
n5

in dream films,
21
,
22
,
24
,
25
,
37
,
38
,
41
,
42
,
266
n25,
266
nn21–22

in femme noir films,
206
–7,
284
n39

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!
,
281
n18

Raines, Ella,
34
,
159
,
192

Rainey, Ma,
180

Raksin, David,
110
,
174
,
289
n36

rape,
201
,
202
–4,
282
–83n28

Raphael,
273
n10

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
,
288
nn24–30

Brute Force
,
225
–26,
287
n15

Force of Evil
,
220
,
234
–39,
249
,
288
–89nn32–36

Naked City
,
226
–27,
287
n16

The Prowler
,
221
,
239
–40,
249
–50,
255
–60,
291
nn5–6

The Strange Love of Martha Ivers
,
220
,
228
–31,
287
–88nn20–23

Thieves’ Highway
,
220
,
227
–28,
287
nn17–19

Try and Get Me!
,
221
,
239
–40,
250
–55,
291
nn2–4

The Underworld Story
,
221
,
245
–47,
249
,
290
n46,
290
nn49–50

red scare and witch hunt,
11
,
100
,
222
,
240
,
286
n10

fight against,
222
–23,
244
–45,
255

mass media and,
224
,
245
,
290
n48

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
,
272
n30

Richards, Silvia,
188
,
205
,
210
,
272
n30,
283
n37

and HUAC,
223

Ride the Pink Horse
,
77
,
88
,
90
–92,
191
,
271
nn19–21

Ringel, Shoshana,
264
n5

Ripley, Arthur,
31

Rivkin, Allen,
283
n29,
283
n34

Road House
,
181
–84

Roberts, Allan,
281
n16

Roberts, Bob,
231

Roberts, Marguerite,
188

Roberts Production,
231

Robert Stillman Productions,
250

Robinson, Edward G.,
106
,
116
,
117
,
132
,
167

Rogers, Shorty,
174
,
279
n29

Romm, May E.,
266
n21

Rooney, Mickey,
170
,
171

Ross, Barney,
288
n26

Rossen, Robert,
17
,
156
,
220
,
228
,
231
,
285
n3,
288
n30

and HUAC,
223
,
286
n7

Rothberg, Michael,
80

Rudolph, Eleanor,
163

Rugolo, Pete,
174

Russell, Harold,
270
n1

Ruthven, K. K.,
120

Ryan, Robert,
84
,
85
,
100
,
172
,
211
,
213
,
288
n27

Sagoff, Mark,
128

Salt, Waldo,
286
n7

Santos, Marlisa,
43
,
49
–50,
59
,
72
,
93
,
94

Scarface
,
4

Scarlet Street
,
106
,
116
,
122
–26,
274
nn19–20

Scheib, Ronnie,
204
,
283
n36,
285
n54

Schoenfeld, Bernard,
284
n41

Schwartz, Hillel,
124
,
130

Scott, Adrian,
84
,
86
,
271
n15,
285
–86n3,
286
n7

Scott, Lizabeth,
89
,
229

Screen Actors Guild,
222

Screen Writer
,
286
n6

screenwriters: and blacklist,
222
,
223
,
224
,
255

and control over product,
215
,
224
,
286
n6

women as,
58
,
180
,
187
,
188
,
192
,
214

secrets,
228
–29,
230
–31

Seiter, Ellen,
216
,
285
n55

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.,
266
n27

Set-Up, The
,
231
,
288
n27

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
,
277
n9,
277
n11

marriage and,
193
,
195
,
203
,
217

Outrage
on,
204
,
283
n36

Shadoian, Jack,
4
,
51
,
150
,
276
n9

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
,
279
n35

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
,
270
n5

social mobility.
See
mobility

social realism,
225
,
231

sodium pentothal,
98
,
130
,
272
n26

Sokolsky, George,
290
n48

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
,
266
nn23–27

dream sequence in,
40
–43,
266
n24

patronization of women in,
45
,
203

psychoanalysis in,
37
,
38
,
41
,
42
,
266
nn21–22,
266
n25

Spencer, Nicholas,
13
,
273
n6

Spicer, Andrew,
281
n17

Stanfield, Peter,
156
,
179

Stanwyck, Barbara,
60
,
132
,
189
,
199
,
268
n13

States, Bert,
22
,
41
,
265
n9

Stillman, Robert,
253
,
290
–91n3

Stone, Andrew,
147

Strange Affair of Uncle Harry, The
,
5
,
34
–37,
191
,
266
n19,
274
n15

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
,
287
n22

Stranger on the Third Floor
,
21

Straw, Will,
12

Street of Chance
,
48
–50,
271
n22

strikes,
12
,
222
,
264
n10

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

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,
279
nn31–33

swing music,
156
,
158
,
174
,
178
,
277
n7

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
,
269
nn25–29

The Killers
,
48
,
50
–54,
266
n26

My Name Is Julia Ross
,
48
,
58
–60,
267
nn6–9