Film noir uses a very characteristic form of dialogue. We all know that noir privet detectives are streetwise, disillusioned and wisecracking, as well as we know that femme fatales are sensual and smooth anything they say.
Dialogue was very important in film noir, because, as much as the plot relied on action, some of this action happened in dialogues. In fact, dialogue was one of film noir secret weapons, one of those means filmmakers used so to replace more lavish formed of filmmaking which they could not afford or addressed adult matters which the Hays Could would not allow.
So, as it happened, film noir transformed a limitation into one of its strongest features.
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The Third Man (1950) by Carol Reed
Set in postwar Vienna, Austria, “The Third Man” stars Joseph Cotten as Holly Martins, a writer of pulp Westerns, who arrives penniless as a guest of his childhood chum Harry Lime (Orson Welles), only to find him dead. Martins develops a conspiracy theory after learning of a “third man” present at the time of Harry’s death, running into interference from British officer Maj. Calloway (Trevor Howard) and falling head-over-heels for Harry’s grief-stricken lover, Anna (Alida Valli). (Google synopsis)
To Have and Have Not (1948) by Howard Hawks
In Vichy France, fishing boat captain Harry (Humphrey Bogart) avoids getting involved in politics, refusing to smuggle French Resistance fighters into Martinique. But when a Resistance client is shot before he can pay, Harry agrees to help hotel owner Gerard (Marcel Dalio) smuggle two fighters to the island. Harry is further swayed by Slim (Lauren Bacall), a wandering American girl, and when the police take his friend Eddie (Walter Brennan) hostage, he is forced to fight for the Resistance. (Google synopsis)
No Film School – The Stylistic Elements of Film Noir
School Media Arts – Characteristics of Film Noir
Understanding Media – Primary Characteristics and Conventions of Film Noir