Mikiro KATO
Revaluation of Fritz Langs American Films
Some artists are destined to leave their own countries and languages for political
and ethical reasons. A film director, Fritz Lang, was one of these famous artists
in exile.
Lang, whose German films including Metropolis (1926) and M (1931)
are highly regarded, is also well-known for his dramatic personal history. As
many biographers have stated,*E1 Lang was offered the leadership
of the entire German film industry by the Nazi propaganda minister, Josef Goebbels,
in 1933. Lang refused because he was partly Jewish. He escaped to Paris on the
night train at once, leaving behind his wife (a devout Nazi) and all his properties.
He later emigrated to Hollywood in 1934, where he was already known as a top
German film director. Lang committed himself to not using his own language and
made 22 American films until 1957.
The majority of film researchers have admired only Langs German films and hardly
discussed his American ones, alleging they were tainted by commercialism. Nevertheless,
it is too hasty to conclude that such a marvelous artist as Lang terminated
his most prolific period only due to changes in his working environment. This
essay will study Langs American films so as to prove the significance of his
filmmaking in Hollywood.
I will draw a distinction between my argument and that of some neutral critics
that Langs American films reflected the remarkable techniques of his German
years. I would rather state that Langs films reached their ripest and most thorough
stage in Hollywood, not in Germany, as Clash by Night (1952) verifies.
This film has scarcely been discussed among Lang scholars: not only the anti-Hollywood
writers but also the ones who, to some degree, value Langs American films.*E2
Nonetheless, this melodrama proves Langs mature approach to human nature.
In Germany, Lang depicted personal conflicts through two opposing terms: the
criminals uncontrollable compulsion and greed, and the locals compelling indictment
against them. In Metropolis (1926), he manifested the conflict and reconciliation
between the ruling class and the workers surrounding a woman android. In M
(1931), there was the mob violence revolving around the child murderer. In the
United States, on the other hand, he portrayed all the characters as large as
life. In Clash by Night, he dealt with a risque subject (adultery) in
a realistic and tasteful manner; people are individuals and their desires are
illustrated in a series of routine signs, such as beer and perfume.
In this respect, it can be argued that Clash by Night proves that Lang
made a dramatic breakthrough in his filmmaking: from a pessimistic, artificial
art to a vivid, natural one. It is wonderful that he successfully developed
his capacities at the end of such a harsh experience as exile. In order to validate
the argument above, this essay will analyze Langs masterpieces from his German
to his American years, and figure out the remarkable structure and theme of
each work.
A Cinematic Sign, 22
1936 was a memorable year for Lang. Fury, his first Hollywood film after
he moved to America, lived up to expectations. For the theme of the film, Lang
employed the key features of his German films: lynch law, justice, and revenge.
At the same time, the film revealed a new tendency, which would later distinguish
his American films from his German ones.
Before I discuss the film, I will give a summary of Fury. A simple and
honest American (Spencer Tracy) is suddenly arrested under suspicion of kidnapping
in a small town where he has stopped off during his trip. What is worse, an
angry mob lynches Tracy and burns down the police station where he has been
kept in detention.
The story of the first half reflects the serious social problems of the United
States of the time, such as increasing lynchings and kidnappings with enormous
demands for ransom.*E3 The film also recalls the plot of M,
but in the second half Lang depicted the innocent mans revenge in a way distinct
from his German method.
Spencer Tracys character miraculously survives, but he deliberately lets no
one, not even his grieving girlfriend, know of his existence. It is because
he wants the mob of 22 people to get the death sentence for his murder. He hides
and looks forward to hearing the judgment laid upon them. Although he initially
has no hesitation in taking revenge on them, he begins to feel guilty when he
comes across a symbolic sign at a bar. It is the most unexpected moment in the
film not only for Tracys character and the spectators who have identified with
him, but also for the people who have analyzed the film in terms of film history.
The sign is found in a pad calendar at the bar counter. The hero first sees
the number 20 printed in black on the white sheet of the calendar, which means
it is the 20th of November. The bartender then realizes that it is after midnight
and he tears off two sheets (20 and 21) by mistake, such that the number 22
is abruptly visible to the heros (and the spectators) eyes. Twenty-two is exactly
the number of the criminals who are about to be sent to the electric chair.
Tracys character, shocked by the coincidence, decides to reveal his identity
(as if complying with the Hollywood ethic that no good American or movie star
should commit a crime). It is, indeed, a curious coincidence in terms of film
history, not just in the context of the films imaginary world. The number 22
actually foretold Langs later filmmaking. As I have mentioned, Lang was to direct
a total of 22 films in America from his first film Fury to Beyond a Reasonable
Doubt (1956), with which he put a period to his long exile.
We should also discuss 22 in terms of the films dramatic context. The coincidental
number shakes the protagonist who is experiencing a mental crisis, delivering
his mixed feelings to the spectators. As exemplified by 22, Lang frequently
made use of such cinematic signs in America, as well as in Germany. It is significant,
though, that Lang produced a greater effect on the spectators in America by
changing the way that these signs were presented. This is what distinguishes
Langs American films from his German ones, and what indicates that he finally
became a full-fledged artist in the United States. The final section will discuss
the issue above through a close analysis of Langs last American film, Beyond
a Reasonable Doubt. Meanwhile, we should find out how abstract the cinematic
signs of his early films were.
The Abstract Signs
If Fury (1936) is categorized as a lynching film, in which a mob of
citizens punish an innocent man without a legal trial, M (1931), one
of Langs most celebrated films, should fall into that category too.
What frames M is the amazing network woven among the local people. They pursue
and get the psychotic murderer of little girls (Peter Lorre) through the network,
and furthermore, sentence him to death in a sort of kangaroo court. The network
includes the members of the local underworld and is far better organized than
the police. Consequently, the murderer is tracked down not by the police but
by the locals. Their well-organized network reminds us of the syndicate that
Lang depicted in his early film, Dr. Mabuse, der Spieler (1922). Dr.
Mabuse, a criminal mastermind, has a greater interest in taking control of a
network of classified information than in robberies. Even if he conducts a burglary,
his intent is obviously to manipulate the stock exchange. What concerns Mabuse
most is how he can take advantage of the network and manipulate other people
just like dominoes.
The network of classified information is usually maintained by an exchange
of abstract signs. In the case of M, the sign is M (for Murderer). A
young man discovers the criminal and leaves the sign on his back lest the suspect
should disappear in the crowd. The young man pretends to push his way through
the crowd and presses his palm, on which he has chalked M, against Lorres back
as if pressing a rubber stamp. M discriminates the suspect from the crowd. Lorre
turns into a kind of scapegoat and eventually finds himself trapped in the network,
all the members of which are aware of the sign.
M does not terrify spectators because of the murderer, who wishes to
stop killing innocent girls but is constantly overpowered by his uncontrollable
compulsion, or because of the local people who lynch him. The film frightens
us because it realizes the nightmare hidden in the information-oriented society.
Lorres character is ultimately caught in the meshes of the sign M, through which
the members of the network fully exchange information. The sign is so effective
and manipulative that even a ghastly murderer is trapped.
This essay, however, will not make a comparison between the manipulative aspects
of the society of M and German society of the time. The observations
above rather note that Lang frequently employed ominous signs in his films,
as exemplified by M and 22. For another example, in Human Desire (1954),
it is F: a grisly murder takes place behind the door of compartment F of a train.
In Secret Beyond the Door (1947), 7 marks the door of the paranoid husbands
room, which he does not even allow his wife to enter.
These signs (M, 22, F, and 7) are still abstract, since they carry no significance
literally. They insinuate something ominous such as a murderer or the number
of people in a mob, but they actually mean nothing out of the dramatic context.
In other words, these signs become substantial only when they are recognized
by a group of characters who want to read their latent meanings.
In Langs later films, coinciding with his move to the United States, the above
series of abstract signs changes into more tangible ones occupying intricate
patterns. Nevertheless, in a period of transition, there was a film which consisted
of a series of further abstract signs: Scarlet Street (1945). The next
chapter, therefore, will discuss this fascinating film with regard to its cinematic
signs.
SS
The signs that I discussed in the previous section are only recognizable to
some characters, but are simple enough to make sense to all spectators. In Scarlet
Street, however, the sign is no longer obvious. The recurrent sign is so
subtle and intricate that even the spectators cannot easily identify it.
Scarlet Street is a sort of companion piece to the prior film, The Woman
in the Window (1944). Scarlet Street is, as it were, the Hollywood
(Langs) version of Der Blaue Engel (dir: Josef von Sternberg, 1930) in
its story and style. Lang cast Joan Bennett in place of Marlene Dietrich, who
in the original film was a femme fatale who seduces a naive middle-aged man
into his downfall. As the man enslaved to the sensual Bennett, Edward G. Robinson
(a veteran Hollywood actor) gave a brilliant performance.
In the film, we come across the cinematic sign when Robinson, lured by the
bad woman, commits a crime for the first time. He betrays his employer and steals
money from the office, where he has been working as a cashier for years. Robinson
takes charge of the cash box in a small, glass room of the office. There is
an opening in the glass wall to receive cash, above which CASHIER is marked
at the level of a mans height.
The sign appears through the word on the glass. In the tranquil lighting of
wintertime, the single letter S of CASHIER casts a shadow on the pathetic mans
forehead, as he distorts his face in agony while still committing the theft
for Bennett. The marvelous lighting techniques of Milton Krasner, the director
of photography, show the shadowy sign as if the cashier was branded with the
initial S at the moment of the crime. Furthermore, S appears twice in the film
lest any of the spectators should miss the sign. Hereafter, I will call the
series of such signs SS.
SS is clearly significant with respect to the Hollywood film techniques of
the time. German exiles including Lang brought in Expressionist lighting techniques
which were soon featured in film noir, a new Hollywood genre. As a result, You
Only Live Once (1937), Langs second film in America, became one of the models
for film noir. SS also represents Langs striking use of lighting.
Now let us consider the difficult question of SS in its dramatic context. Robinson
is a Sunday painter, whose simple miniatures remind us of Henri Rousseau. Despite
his wifes belittlement, his paintings come to fetch high prices and he becomes
known in the art circles. SS is located in one of his paintings. It is in a
portrait of a young woman standing still under a street lamp in a desolate place,
which appears to visualize the title, Scarlet Street. The painting apparently
recalls film noir, and equally implies the candid mans doomed encounter with
a deadly woman.
The painting shows a large snake wound around the steel post of a railway, which
rises to the right of the woman. The snake is illustrated out of perspective
and conspicuously forms an S. Needless to say, the painting is the Greenwich
Village version of the Lost Paradise, with Eve (the bad woman), who tempts Adam
(the cashier), and the snake, the root of all evil. The cashier is accordingly
branded with S (for Sinner and Serpent) in the forehead, when he commits a crime
for the first time in his life (in other words, when he eats the forbidden fruit).
(In fact, criminals used to be branded in the forehead as punishment.) S appears
twice in the film and naturally refers to the initials of the film: SS for Scarlet
Street. As SS also suggests the scarlet letter, the sign might be interpreted
in multiple ways.
The central issue SS presents is the fact that Lang developed the potentialities
of cinematic signs in his films as the years went on. This is what differentiates
between his American and German films. In M, a series of signs, however abstract,
are clearly recognized by some of the characters and all of the spectators (because
the sign is made for the purpose of discriminating and entrapping the murderer).
On the other hand, in Scarlet Street, each sign is very carefully abstract.
Furthermore, a series of abstract signs are so elaborately associated with each
other and carry such various implications so that only a section of the spectators
can grasp their full significance.
Scarlet Street was the film in which cinematic signs degree of abstraction
reached its peak. Afterward, Lang made a turn in his style of signs, from abstract
to tangible (routine/common) ones. At the same time, the degree of association
between each sign was to reach its highest point. The following section will
discuss Clash by Night and Beyond a Reasonable Doubt in order to verify
the argument above.
The Moment that the Heroine Backs Down on Her Desire
As I have mentioned, Clash By Night (1952), Langs completely ignored
family melodrama, should be listed as one of the most brilliant films of his
American years.
The film climaxes at the moment when the heroine (Barbara Stanwyck) backs down
on her lust and reforms herself. Just as Spencer Tracys character finally gives
up his quest for revenge on the mob of 22 citizens and stops them from being
sent to the electric chair in Fury (1936), Stanwyck decides to return
to her husband the moment that she runs away with her young lover.
The heroine is a fallen woman. After a furious quarrel with her husband, she
leaves him for another man whom she has adored. But she still feels empty. She
realizes that there will be no hope in her new life with the man and she changes
her mind. Her husband is dull, but at the same time, tolerant. For all her uncontrollable
desire, the heroine goes back to her married life in the end. This is seemingly
a false happy ending in compliance with the Production Code of the time. Although
the film was initially produced as an adultery story, it was cited by the PCA
(the Production Code Administration), which required of the film that the sanctity
of the institution of marriage should be upheld at all times.*E4
Nevertheless, the moment that the heroine backs down on her desire is crucial
with reference to cinematic signs, especially when compared with the use of
signs in Fury. There is no longer a sign like 22 in Clash by Night. In
fact, Langs dramatic turn in the style of signs owed a great deal to the brilliant
performance of Barbara Stanwyck, a top Hollywood actress.*E5
A woman like the heroine in Clash by Night was typical of Stanwycks
main roles. From the 1930s to the 1950s, she always performed as a woman who
first put her desire in front of anything else, but ultimately reforms herself
for her family (her children and husband), as is the case in Stella Dallas
(dir: King Vidor, 1937), Christmas in Connecticut (dir: Peter Godfrey,
1945), and All I Desire (dir: Douglas Sirk, 1953). With the exception
of Double Indemnity (dir: Billy Wilder, 1944), in which she took the
role of a femme fatale, it is not too much to say that Stanwyck herself represented
the Hollywood melodrama for decades.
The crucial moment in Clash by Night thus did not necessarily have to
be illustrated by abstract signs like 22 or M. It was fully manifested when
Stanwyck unexpectedly lowered her high-pitched nasal voice and looked absentmindedly
into the air. She marvelously expressed the turning point by means of her voice
and eyes (tangible signs). Lang came across this miraculous actress, and his
film, for the first time, gained the fascination most narrative films basically
held.
In parallel with Stanwycks substantial acting, Clash by Night features
a series of routine signs instead of abstract ones. Nicholas Musuraka, the director
of photography, displayed his outstanding technique by filming several scenes
associated with foam-flecked water: the dark waves beating upon Monterey Bay;
Marilyn Monroe standing on her head by having her boyfriend hold her ankles
so she can get salt water out of her ears; the beer foam leaking out of a broken
bottle which a middle-aged man, carrying piles of beer bottles in his arms,
has dropped on the roadside; the husband upset by his wife still going out after
midnight and searching her belongings, only to pour her perfume all over his
hand; and him desperately washing his hands in the kitchen to get rid of the
scent.
A series of these scenes, together with their rhythmic movement, which the
films title suggests, as well as Stanwycks great contribution, successfully
complete a story of personal conflicts between each persons uncontrollable desire
and assumed responsibility.
Each of the characters is associated with foam-flecked water, whereby they
are shown to be confused or embarrassed, revealing several aspects of their
lives. They are ordinary people who experience joy and grief in their everyday
lives, as a result of which they start a new life. In Clash by Night,
Lang portrayed all the characters as large as life, something unprecedented
in his career.
In his German films, the characters were always portrayed, as it were, larger
than life: the people manipulated by the social system, the criminal who discovered
himself in controlling information, and the people under chronic stress and
mass hysteria. It can be argued that Langs move from Germany to America coincided
with the period in which Lang turned his direction from allegorical Expressionism
to psychological realism. Lang, at last, accomplished a new human story in Clash
by Night.
A Courtroom Drama
Now that we have made a study of several films of Langs, it is time that we
should discuss the film at issue, Beyond a Reasonable Doubt (1956), in
terms of the comparison between abstract and tangible (routine/common) signs.
What awes us about the film is that the structure itself reflects the theme.
The spectators are accordingly required to think about the key issue that the
film represents (as if they were one of the members of the imaginary world);
they are no longer mere observers.
The central issue of this courtroom film is the question about clear evidence
and judgment. As a result of the accumulated evidence, we form a judgment beyond
a reasonable doubt. The film then questions us spectators if we really made
a decision that was based on a careful consideration of the facts. In a wider
context, it also asks us what watching a film signifies.
In the film, all the incriminating evidence is displayed on screen. The spectators
are given the full amount of information and are supposed to recognize all the
evidence presented to the court (the screen), as opposed to the ignorant jury.
Do the spectators, however, really grasp all of it?
The question might be an advanced form of the theme of Dr. Mabuse, der Spieler
(1922), which showed Mabuses uncontrollable desire to take control of the world-wide
network. In Beyond a Reasonable Doubt, we see how gigantic ambition, which Lang
depicted in the character of Dr. Mabuse, is transfigured in the democratic environment
that modern America has stood for.
Let us read the film in detail. The protagonist (Dana Andrews) is a journalist
who protests against the present system of jurisprudence in which suspects pay
the extreme penalty on circumstantial evidence. He bravely declares himself
a murder suspect in order to effectively point out the flawed system. He gains
the information from the media and makes all the circumstantial evidences establish
his guilt. For instance, he leaves a lighter bearing the inscription of his
name at the place where the murdered woman was found; he scatters the same face
powder as the victims on the passenger seat of his car; simultaneously, he wipes
off all the fingerprints inside the car; and he buys the same kind of coat that
the witness has identified as the murderers. He, of course, has a cameraman
take photos of each piece of circumstantial evidence, so as to prove his innocence
later.
Before long, Andrews is naturally arrested on suspicion of murder and taken
into custody, where upon he finds himself in trouble. All of a sudden, the cameraman
is killed in an accident and all the photos are burnt to ashes. He no longer
has anything (or anyone) to verify his innocence. The unexpected development
of the first half of the film is still a repetition of Fury, another
courtroom film. Nevertheless, the latter part will take the spectators by surprise
on two levels: inside and outside the imaginary world.
Firstly, the spectators are startled by the ending, in which Andrewss character
turns out to be the real murderer despite his claim of innocence. He has committed
a double perjury, which startles the spectators since they have identified with
him for more than an hour. The shock they undergo inside the imaginary world,
though, is probably not as much as with Psycho (dir: Alfred Hitchcock,
1960). In that film, the heroine is killed before the first half of the film
is over.
What appalls the spectators in Beyond a Reasonable Doubt, in fact, is
set outside the imaginary world. It is when they come to realize that they (might)
have missed a fatal fact with regard to Andrews. The protagonist cannot identify
a piece of circumstantial evidence presented to the court, a fact which puzzles
him. He has been over-confident that he had all the information in the palm
of his hand. It is crucial, therefore, whether or not the spectators can recognize
the evidence, instead of the protagonist. In other words, the film tests the
spectators on their powers of observation. They are, indeed, meant to be more
aware of every piece of evidence than any of the characters on the screen, to
such a degree that they can even point out the flawed judicial system on behalf
of the journalist. In this court drama, it is ultimately the spectators who
should pass judgment on the protagonist.
The Invisible Sign
As I have mentioned in an other essay,*E6 spectators in the
Hollywood cinema are sort of faithful followers of a forcible speaker (protagonist).
They go through whatever the protagonist experiences in the imaginary world
and do nothing more. The majority of ordinary films are established on this
framework. In this regard, Beyond a Reasonable Doubt is an exceptional
film.
In the film, the protagonist is satisfied with his control over his circumstances.
It is thus vital whether or not the spectators knowledge exceeds that of the
protagonists, however happily they have identified with him. If they recognize
the thing that he misses, it means that they transcend the knowledge given in
the framework. It is the moment that they go beyond the imaginary world and
will find themselves grasping the film both inside and outside of its world.
Let us see the circumstantial evidence that the protagonist overlooks. It appears
at the moment that Andrewss character has a little rest in his garage and has
devised another piece of evidence. The cameraman, as usual, has taken photos.
The cameraman, then, lights his pipe with a match and presses the hole of the
pipe with the match box, which he quickly throws away behind him. The match
box will turn out to be fatal to Andrews, who is not careful enough to make
evidence of the pipe. A witness has testified that the murderer was smoking
a pipe.
It is a critical matter that not only the protagonist but also most of the
spectators fail to recognize what the cameraman leaves in the garage. The spectators
miss the moment, mainly because it is a common sequence in the film. There have
already been more than ten smoking scenes, in fact, up until that moment. Some
people always smoke and smoking is also typical of film noir. Cigarette smoke,
as well as dark shadows, is actually indispensable to the iconography of film
noir.*E7 The spectators, thus, take the scene for granted
and barely grasp the situation. Besides, the smoking cameraman is framed in
a medium shot only for a few seconds; furthermore, the non-pipe-smoking spectators
cannot make out what he does, let alone what is marked on the match box. In
brief, the box can be considered invisible to their eyes.
The match box will unexpectedly turn out in favor of the prosecution. The rectangular
box, with which the cameraman pressed his lit pipe, bears a round and black
burnt mark in its center. It looks like a black Rising Sun flag. The prosecution
brands the black circle of the match box as an incriminating piece of evidence
in the following way.
1. According to the witness, the murderer was smoking a pipe.
2. The suspect (the protagonist) has testified under oath that he is not a pipe
smoker.
3. Nonetheless, the match box bearing the burnt mark has been found in the suspects
garage, which proves his pipe-smoking habit.
4. Consequently, he is presumed to perjure himself.
The statement above is a mere conjecture, which is not beyond a reasonable
doubt at all. The match box, however, adds to the circumstantial evidences against
the protagonist. Different from the evidence that Andrews intentionally devised
(e.g., the lighter, the face powder, and the coat), the box has slipped from
his grip, ironically to accuse him.
It should be noted that the spectators must recognize the smoking sequence
in the garage. Otherwise, they, as well as the naive jury, cannot prove that
the incriminating evidence (which the prosecution patronizingly demonstrates
to them) is totally groundless. The spectators are required to be careful not
to overlook the cameramans action, however familiar and routine it looks. (Smoking
sequences are actually common on two levels: as I have mentioned, they are frequent
in the imaginary world and are routine in the genre called film noir. The film
partially fulfills the function of film noir and thus has several smoking sequences.)
If the spectators remember the sequence, they immediately can offer evidence
against the prosecution whose statements are, by no means, beyond a reasonable
doubt. (Now that the cameraman is dead, they are the only witness for the defense.)
While the black circle of the match box is branded as incriminating evidence,
it certainly proves (to them) to be false evidence. It is, though, very likely
that the spectators overlook the sequence.*E8 In that case,
they cannot help but admit that they have failed to read a series of invisible
(which means, routine, common, and tangible) signs that Lang has elaborated
in the process of the film. They can no longer allege that they have adequately
appreciated Langs film, since they have not reacted readily to all the information
he has given them. They, in a sense, find themselves left out of the games that
Lang played in his lifetime.
Now we should get to the point. The ending of the film startles the model spectators
because they have believed in Andrewss innocence as a result of their observations
of him. They have identified with him, but at the same time, they have kept
an eye on him to such an extent that they believe he has been trapped in a frame-up
of coincidence. In the court sequence during which the prosecution presents
the match box as evidence, Andrewss character is totally vulnerable, however
misguided the prosecution is. Nothing can disprove the match box. He has lost
the cameraman and the photos which can prove his innocence, something which
can be considered his misfortune. The match box, though, is entirely the result
of his negligence. Through it, he has to admit, for all his knowledge of the
case, that there have been several things invisible even to himself. It is also
the moment that the spectators (who recognize the evidence, the invisible sign)
become certain of Andrewss innocence. Simultaneously, they realize what motivated
the protagonist to appeal for social justice: the flawed system of jurisdiction,
which is obviously exemplified by the complacent prosecution in the court. They
fully understand what he has, at the risk of his life, fought against. It is,
therefore, very ironical that they are the ones who will be astonished by the
unexpected ending: what I have called the shock set inside the imaginary world.
Based on the argument above, I would like to conclude the final section by
offering a semiotic approach to the film. The match box, bearing a round and
black burnt mark, provides various meanings for the characters (the cameraman,
the protagonist, and the prosecution) and the spectators. In the first place,
it is nothing but an empty match box thrown away by the cameraman. No one expects
at the moment that it will turn out to be fatal . The box is naturally overlooked
by the cameraman, the protagonist (who is supposed to observe the cameramans
smoking), and even the majority of spectators (who are supposed to observe the
whole sequence).
In the case of M, none of the network members or the spectators can
miss the letter M. Likewise, neither Tracy nor any of the spectators fails to
notice the number 22, the ominous sign, in Fury. On the other hand, in
Beyond a Reasonable Doubt, the characters remain ignorant of the sign
they (the protagonist and the cameraman) themselves have made.
A tangible sign (a round and black burnt mark) is transformed into an abstract
one when it is found in the protagonists garage by other people. The sign is
interpreted by the police as something which can possibly establish his guilt.
It is shortly branded by the prosecution as incriminating evidence (like the
letter M), at the same time as it paradoxically assures the model spectators
of his innocence. In the process of the film, tangible sign comes to render
a variety of abstract meanings. The framework, centered around the tangible
sign, is far more advanced than that of Langs early films (M and Fury),
in which a series of abstract signs are displayed simply.
In conclusion, I should like to state again that the significance of the spectators
is proved when they recognize the invisible sign at issue. In Scarlet Street,
Lang subtly established the processes by which the spectators recognize and
interpret the cinematic sign in various ways. In Beyond a Reasonable Doubt,
the sign is further expanded; it goes beyond the imaginary world and requires
the spectators to correctly read it. The model spectators are accordingly meant
to transcend the protagonists knowledge, for all their empathy toward him. They
are, as it were, model judges. They have to keep a certain distance from the
imaginary world and carefully observe each fact, so that they can eventually
form a judgment beyond a reasonable doubt. From the beginning to the end, they
must look at everything thoroughly; this is what the film signifies.
In the particular type of medium called cinema, the act of looking is the biggest
issue. In Beyond a Reasonable Doubt, Lang specified the perfect form
of looking. This is when the refugee director, who spent his life in five nations
(Austria, Germany, France, the United States, and West Germany), finally gave
full play to his great potential.
NOTES
This article is a revised version of one of the chapters included in my book What Is the Cinema? published by Misuzu Shobo in 2001.
*E1 Kurt Liese, Doitsu eiga no idaina jidai (Tokyo: Film
Art Co.), pp. 368-371; Otto Friedrich, Hollywood teikoku no kobo (Tokyo:
Bungei Shuppan), pp. 72-73, [City of Nets (New York: Harper & Row
Publishers, Inc., 1986),]. Their original source is assumed to be Peter Bogdanovich,
Fritz Lang in America (Studio Vista, 1967), p. 15, in which Lang gave
a detailed interview.
*E2 I regret to say, Clash by Night was not even referred
to in Reynold Humphries, Fritz Lang: Genre and Representation in His American
Films (The Johns Hopkins University Press, 1989), in which Humphries makes
a superb textual analysis of most of Langs American films.
*E3 Lang stated that the script of Fury was modeled
upon an actual case of lynching which had taken place in California a few years
before production. See Bogdanovich, Fritz Lang in America, p. 16.
*E4 Janet Bergstrom, The Mistery of the Blue Gardenia, in Joan
Copjec, ed., Shades of Noir: a Reader (Verso, 1993), pp. 99-100. PCA
required alterations in both the script and the film in July 1951, and took
until March 1952 to censor them. The censorship procedure was relatively long
for an independent production film.
*E5 Lang expressed great admiration for Barbara Stanwyck in
Bogdanovich, Fritz Lang in America, pp. 80-82.
*E6 Mikiro Kato, Risotekina Kankyaku (The Model Spectators):
Psychoanalysis, Misuzu: Oct., 1994 (Tokyo: Misuzu Shobo, 1994).
*E7 For the iconography of film noir, please refer to Kato,
Film Noir no Hanzai Yori 1, 2 (The Whole Framework of Film Noir 1, 2), Subaru:
Mar & May, 1990.
*E8 I gave a questionnaire to 10 of my
students, whom I assume will become the film experts of the future, after they
watched the film. The result was that only one student remembered the scene.
Actually, I myself overlooked it when I first saw the film ten years ago.
(This essay is based upon the film seminar that I conducted at the Space Benguet
Hall, Kyoto, on November 9, 1994.)