Summary
Theneo-noirgenre surged in popularity during the 1980s as countless acclaimed directors paid homage to movie aesthetics of the past while imbuing their films with something new. As a revival of film noir, noe-noirs took on the characteristics and style of gritty 1940s detective stories to depict modern crime dramas, psychological thrillers, and, in some cases, comedies. While some neo-noirs, such as David Lynch’sBlue Velvet, have received widespread acclaim and interest from modern viewers, there were plenty of other fantastic neo-noirs from the 1980s that were doomed to obscurity.
Thebest neo-noirs ever madepaid tribute to film noir while also carving out something new, and many of the greatest releases came out during the 1980s. While neo-noir works by acclaimed directors like Martin Scorsese may not be entirely unknown, when compared to the rest of their body of work, they were massively underrated.Looking back on some of the lesser-known neo-noir releases of the 1980s, it’s striking just how much they were categorized by creativity, originality, and quality, and for this reason, they deserve far more attention from contemporary audiences.
Blue City
Cast
Blue City is a crime drama directed by Michelle Manning. Judd Nelson plays Billy Turner, a young man returning to his Florida hometown after years away, only to discover his father, the mayor, has been murdered. Determined to uncover the truth, Billy dives into the town’s seedy underworld, facing corruption and danger at every turn.
While the neo-noir genre may not be the first thing viewers associate withmembers of the Brat Pack, Judd Nelson and Ally Sheedy confounded these expectations inBlue City. As an action thriller with plenty of noir elements, Nelson played a young man returning to his corrupt small town to avenge the death of his father. Sadly,Blue Citywas slated by critics upon release, as both Nelson and the director, Michelle Manning, bore the brunt of the movie’s negative reception.
However, looking back onBlue Citytoday revealed an interesting adaptation of the original novel by Ross Macdonald. With a storyline shift and casting choices that meantBlue Citywould appeal more to teen audiences rather than lovers of the original thriller book, it’s understandable that it was underrated during its time. But revisitingBlue City, there was a lot to enjoy from its fast-paced storyline, music by Ry Cooder, and some strong performances throughout.
American Gigolo
American Gigolo is a 1980 crime drama directed by Paul Schrader, featuring Richard Gere as Julian Kaye, a high-class male escort in Los Angeles. The film explores themes of luxury, loneliness, and vulnerability, as Julian becomes entangled in a murder investigation. Co-starring Lauren Hutton, American Gigolo delves into the complexities of personal relationships and societal expectations amidst a backdrop of eroticism and criminal intrigue.
After already writing the screenplay for one of the greatest neo-noirs of the 1970s,Taxi Driver, filmmaker Paul Schrader took up directing duties for one of the most underappreciated neo-noirs of the 1980s withAmerican Gigolo. While this was the film that established Richard Gere as a leading man and broke down boundaries as one of the first mainstream Hollywood films to include full-frontal male nudity,American Gigolohas not had as enduring a reputation as Schrader’s screenwriting work for Scorsese. This was a shame, as interested viewers would discover a fascinating study into the nature of loneliness.
American Gigolowas a compelling drama that shed light on the darkest aspects of the human experience. With Gere playing a high-priced escort, this story soon grew into a conspiracy as he became the prime suspect in a murder case as he carried out an affair with a prominent politician’s wife. Much like inTaxi Driverand Schrader’s later 1992 filmLight Sleeper,American Gigolowas a gritty and insightful psychological investigationinto isolated and morally complex male characters.
Directed by Carl Reiner
Dead Men Don’t Wear Plaidwas a clever comedy that simultaneously made fun of and paid tribute to the film noir styles made famous during the 1940s. With Steve Martin as the private investigator Rigby Reardon,Dead Men Don’t Wear Plaidincorporated clips from 19 other filmsto have Martin interact with classic film stars of the era, such as Humphrey Bogart and Bette Davis. Through the use of dialogue from other films and new footage with Martin,Dead Men Don’t Wear Plaidcreated an entirely new mystery.
With plenty of farce and pastiche,Dead Men Don’t Wear Plaidwas a unique film that would appeal to lovers of Martin’s distinctive style and film noir enthusiasts alike. Along withThe Jerk, which wasalso directed by Carl Reiner,Dead Men Don’t Wear Plaidstood among Martin’s best movies and proved why he was one of the greatest comedians of this era.Dead Men Don’t Wear Plaidwas intensely silly, but it was also made with so much love for its source materials that it must be commended.
Manhunter
Former FBI profiler Will Graham returns to service to pursue a deranged serial killer dubbed “the Tooth Fairy” by the media.
Michael Mann’sManhunternot only boasted one ofthe best synth scores of the 1980s, but it was also among the most underrated neo-noirs of this era. As the first movie to feature the sinister serial killer, Dr. Hannibal Lecter,Manhunterhas often been overshadowed by the incredible success of the Best Picture-winning thrillerThe Silence of the Lambs. However, viewers would miss out on a great film if they ignored this adaptation of Thomas Harris’s novelRed Dragon.
With a strong use of color and tints, as well as Mann’s signature utilization of the color blue,Manhuntereffectively used its palette to indicate mood throughout this fascinating neo-noir thriller. WhileManhunterwas criticized upon release for being overly stylish, looking back on the film today was part of its appeal. Although Brian Cox’s portrayal of Dr. Lecter (credited inManhunteras Dr. Hannibal Lecktor) can’t quite live up to Anthony Hopkins’ iconic performance, the film has since gained a cult following.
6Nighthawks (1981)
Directed by Bruce Malmuth
Sylvester Stallone traded in the underdog sports hero persona he had cultivated as Rocky Balboa to play the gritty neo-noir cop Sergeant Deke DaSilva inNighthawks. As a seedy New York police thriller,Nighthawkswas a change of pace for Stallone, as this sadistic and bloody story got the heart of the sinister underbelly of urban life. As Sergeant DaSilva found himself on a newly formed anti-terrorist squad, he soon encountered a pair of lethal European terrorists in serious need of deneutralizing.
While Stallone received top billing inNighthawks, it was Rutger Hauer’s performance as the psychopathic terrorist Wulfgar who must be commended for making this one of the most underrated neo-noir movies of the 1980s. A true homicidal maniac,Wulfgar was responsible for the deaths of hundreds of peopleand acted as a terrifying foe to come head-to-head with DaSilva’s no-nonsense police work. With plenty of action and a whole lot of style,Nighthawkswas truly one of the greatest thrillers of the 1980s.
Angel Heart
Private detective Harry Angel (Mickey Rourke) is contracted by Louis Cyphre (Robert De Niro) to track down legendary singer Johnny Favorite. Angel quickly finds that everyone he contacts about the singer winds up dead, as the PD discovers he dabbled in the Occult. As Favorite’s true identity becomes clear, Angel learns about the truth of his dark mission.
While it’s not easy to combine the neo-noir, thriller, horror, and murder mystery genres into one film, this was exactly what Alan Park pulled off withAngel Heart. Asone of the most underappreciated releases in Robert De Niro’s career, what started as a New York cops investigation into the missing person Johnny Favorite soon devolved into a conspiracy of brutal murders in New Orleans. With a disturbing style and enticing allure,Angel Heartwas a sinister thriller whose fractured narrative was a big influence on Christopher Nolan when he madeMemento(viaMetropolis.)
ConsideringAngel Heart’sdark twist endingand disturbing hypnotic aesthetic, the film deserves far more credit than it received for its influence on later filmmakers. The performances of Mickey Rourke as Harry Angel and Lisa Bonet as Epiphany Proudfoot, in particular, deserve praise, and the fantastic ensemble cast elevatedAngel Heart’sseedy narrative to new heights. As a fusion between detective and supernatural stories,Angel Heartwas a fascinating piece of 1980s neo-noir filmmaking.
After Hours
After Hours is a dark comedy film directed by Martin Scorsese and released in 1985. The film follows Paul Hackett (Griffin Dunne), a word processor in New York City, who experiences a series of misadventures and increasingly bizarre occurrences during a single night out in the SoHo district after meeting a woman. As the night progresses, Paul finds himself entangled in a surreal, nightmarish series of events.
While Martin Scorsese was known for directing some of the most acclaimed movies ever made, one of his most underrated projects wasAfter Hours. As a black comedy with a neo-noir style, this darkly hilarious story stars Griffin Dunne as Paul Hackett, an office worker who, after a dull day at work, had a night that was anything but. By blending a film noir style with screwball comedy, Paul ended up having the worst night of his life as he sought to spend time with Marcy (Rosanna Arquette), an alluring Soho resident he connected with at a coffee shop.
Part of the appeal ofAfter Hourswas its overwhelming paranoia as Paul fell ever deeper into a nighttime conspiracy characterized by frantic energy and unpredictability. Asone of the most overlooked entries in Scorsese’s vast filmography, it was also among his most original and idiosyncratic.After Hourswas a satirical story with a lot to say about the soulless nature of yuppie culture during the 1980s and workers' lives that were filled with false promises, as things never quite worked out how they wanted them to.
Gloria
Directed by John Cassavetes, Gloria stars Gena Rowlands as a tough and protective woman on the run with a young boy targeted by the mob. The film explores themes of survival and loyalty as Gloria defies danger to safeguard the child, blending elements of thriller and drama.
While tough-guy leading men were the norm during the heyday of film noirs in the 1940s, the neo-noir genre turned this one on its head with Gena Rowland’s incredible performance inGloria. By breaking out of the femme fatale stereotype trappings of women in noir films,Rowland as Gloria Swenson was truly spellbindingas she sought to take on the mob and beat them at their own game. With the story of a gangster’s former girlfriend on the run with a six-year-old boy,Gloriawas a pulpy success made even better through the assured direction of John Cassavetes.
With a fun and engaging script and a tough and, at times, silly story,Gloriawas a film packed with energy and spontaneity. From its gritty buildings and busy, bustling streets,Gloriacaptured something special about New York City in the 1980s and was a powerful look at a particular place and time in American social and popular culture.Gloriawas a dank and dark misadventure that truly encapsulated everything a good neo-noir should by taking the conventions of the older film noir genre, subverting audience expectations, and adding something new to it.
2Mona Lisa (1986)
Directed by Neil Jordan
Bob Hoskins received widespread acclaim and even an Academy Award nomination for his incredible performance in the dark neo-noir crime dramaMona Lisa. However, despite universal praise from critics,Mona Lisahas not gained the same type of widespread recognition among contemporary audiences as classics such as David Lynch’sBlue Velvet. With Hoskins, Cathy Tyson, and Michael Caine in the three lead roles,Mona Lisawas categorized by its trio of fantastic performances.
Mona Lisatold the story of an ex-con who, after being released from prison, gained a job driving a call-girl from job to job. As a dark, twisted love story with atmosphere to spare,Mona Lisawas a moving and memorable crime filmand a complex mystery aimed at adult viewers. There was something hypnotic about this film’s melancholic allure, as viewers can’t help but feel for Hoskins and his wayward, unrequited love.
Thief
Thief, directed by Michael Mann, stars James Caan as Frank, a professional safecracker aiming to retire after one last job. Released in 1981, the film portrays Frank’s struggle to balance his criminal lifestyle with his desires for a normal life, as he faces increasing pressure from both law enforcement and the criminal underworld. The film is noted for its gritty realism and Mann’s signature style, highlighting the complexities of an antihero.
Thiefwas aneo-noirheist film that proved nobody can soon nightlife better than director Michael Mann. With James Caan as an ex-con safecracker trying to get on the straight and narrow, Mann’s feature film debut was a highly stylish anti-hero story that stood as one of the best movies of 1981. However, despite its incredible quality and strong performances,Thiefhas not remained part of public conversation and rarely gets mentioned by anyone except film connoisseurs when discussing the best movies of the 1980s.
The lack of widespread recognition forThiefwas a real shame because everything about this movie just worked. From its incredible score by Tangerine Dream to its dark exploration of the falsities of the American Dream,Thiefwas a truly intelligent thriller and an impressive start to Mann’s careeras a feature film director. While Mann’s most acclaimed film,Heat, has often dominated the conversation around his career, looking back onThief,it’s striking how similar the two films were to one another.
