America's dominant myths, as revealed in political speeches, books, television and film are grounded in optimism. As the land of opportunity, the American myth was based on the simple, idealistic belief that even if the streets were not paved with gold, through hard work and integrity even poor boys could find success and the good life. ItÆs the Horatio Alger myth. This optimistic myth was perpetuated by Frank Capra in films that centered on the incorruptible Everyman whose idealism and gumption are enough to topple the forces of evil. Sentimental films such as ôItÆs A Wonderful Lifeö and ôMr. Smith Goes to Washingtonö are driven by the American myth. Mr. Smith is a young idealist who is shocked by the corruption he finds in the U.S. Senate. Instead of joining the forces of corruption to better himself financially, he manages to overcome them, and righteousness and goodness rule. This optimistic view of society was portrayed in Hollywood film genres such as musicals, romantic comedies, and sunny family dramas in which Lassie, or her equivalent, always comes home. World War II films depicted heroism and patriotism but not blood and horror. In violent gangster films and Westerns viewers could always tell the good guys from the bad guys. The ideology of the film noir style, however, ran counter to the American myths. Life was not simple, optimistic and clear, but ambiguous, corrupt and murky. And the protagonist of film noir was more an anti-hero than a hero.
Abraham PolonskyÆs 1948 film ôForce of Evil,ö is a prime example of the protagonist as anti-hero as well as an example of film noir ideology and its visual style. The sense of alienation and desperation of film noir movies made between 1941 and 1958 shatter the American Horatio Alger myth. Noir heroes are trapped in a corrupt, violent world and cannot escape the conventions of that world, or the consequences of their actions. Counter to films grounded in the...