Crime film
Crime film is a film belonging to the crime fiction genre. Films of this genre generally involve various aspects of crime. Stylistically, the genre may overlap and combine with many other genres, such as drama or gangster film, but also include comedy, and, in turn, is divided into many sub-genres, such as mystery, suspense, or noir.
Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy, claiming that all feature-length narrative films can be classified by these super-genres. The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in a broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama crime film that is also a noir mystery.
Characteristics
The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in the Mirror: Crime Films and Society found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies, described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and the Studio System does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested the best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films, detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups.The criminal acts in every film in the genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamorous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about the continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society.
Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions, the law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice versa.
Crime films includes all films that focus on any of the three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street ; caper films like The Asphalt Jungle ; and prison films ranging from Brute Force to The Shawshank Redemption. Crime films are not definable by their mise-en-scene such as the Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films.
Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery to Unforgiven often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 and Rancho Notorious are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction that "unquestionably most Western films are crime films" but that their overriding generic identification is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters."
History
Silent era
The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D. W. Griffith's The Musketeers of Pig Alley involving a young woman hounded by a mobster known as The Snapper Kid. Raoul Walsh's Regeneration was an early feature-length film about a gangster who was saved from a life of crime by a social worker. These two early films and films like Tod Browning's Outside the Law that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres stated that prior to Little Caesar, gangster characters were in films were essentially romances.European films of the silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives.
Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade's film serial Fantômas.
The average budget for a Hollywood feature went from $20,000 in 1914 to $300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s.
1930s
The groundwork for the gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone, while pulp magazines like Black Mask helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined the genre with films like Little Caesar, The Public Enemy, and Scarface. In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer."Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931, Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamorous and as charismatic as the criminals. J. Edgar Hoover, director the Bureau of Investigation, promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly, Pretty Boy Floyd and John Dillinger. Hoover's fictionalized exploits were glorified in future films such as G Men. Through the 1930s, American films view of criminals were predominantly glamorized, but as the decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest, a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces and The Roaring Twenties. Unlike actor James Cagney, whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath a crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal."