Film Noir Comparison Paper

In the final pages of the essay, “The Hardboiled Detective Film,” Thomas Schatz
contrasts the historic noir detective figure to the neo-noir incarnation of the 1970s
writing: “As did his ’40s prototype, the screen detective of the 1970s accepted social
corruption as a given and tried to remain isolated from it, still the naive idealist beneath
the cynical surface. But the new detective of the ’70s inhabited a milieu he was unable to
understand or control….” Construct an argument contrasting this shift from the assurance
of Humphrey Bogart in The Maltese Falcon (1941) and The Big Sleep (1946) to Jack
Nicholson’s loss of control in Chinatown (1974).

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