Movie Noir Studio / Leopold Banchini Architects + Giona Bierens de Haan Architectures
“What is that this? The stuff that goals are manufactured from.” Sam Spade’s (Bogart) cult strains conclude the equally quintessential Maltese Falcon. Usually thought of to be the archetype of the movie noir style. John Huston’s film is a trendsetter of the cinematic style that emerged within the Nineteen Forties. Right here, mysteries, schemes, and shadowy narratives are set in a moody city decor at night time. In a gritty world of shadows, the protagonists evolve with darkness wrapped throughout them and the moon as a highlight.
Shot totally in Warner Bros’ backlot, the movie’s cinematography, marked by its chiaroscuro low-key lighting, labyrinth of dimly lit streets, and shadowy again alleys epitomizes the visible model and the cynical nature of the characters.
The brand new decor of the post-production movie studio primarily based in Geneva depends on related methods to create a novel environment. Fully lined in a thick darkish layer of paint, the volumes of the venture are each the backdrop of the actions to return and the protagonist of the plot. Cinematographic moments seem, artificially lit by outsized (moon)lights. Empty avenue corners and alleyways await for his or her characters.
As in Hopper’s Nighthawks, painted just some months after the Maltese Falcon’s launch, the structure serves as a stage upon which the human drama unfolds. Its clear strains and geometric shapes improve the general visible influence of the composition, capturing the essence of city alienation, creating a way of immediacy, and alluring hypothesis in regards to the tales hidden inside the structure of the cityscape.