Jump to ContentJump to Main Navigation
International Noir$
Users without a subscription are not able to see the full content.

Homer B. Pettey and R. Barton Palmer

Print publication date: 2014

Print ISBN-13: 9780748691104

Published to Edinburgh Scholarship Online: May 2015

DOI: 10.3366/edinburgh/9780748691104.001.0001

Show Summary Details
Page of

PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 13 October 2019

Indian Film Noir

Indian Film Noir

(p.182) 8. Indian Film Noir
International Noir

Corey K. Creekmur

Edinburgh University Press

Any responsible claim for the existence of Indian film noir must waver with critical uncertainty. Nevertheless, while crime stories, as elsewhere, have been an unsurprisingly common component of Indian popular cinema, contemporary critics have, if only in passing, increasingly attributed a ‘darker’ aspect to a portion of India’s vast corpus of films, thereby affiliating these recently retrieved examples with Hollywood and other commercial national cinemas, in effect constructing a comparative perspective that retrospectively ‘corrects’ the absence of popular Indian cinema from most historical accounts of world cinema until the 1990s. A cycle of popular Hindi films, almost all set in (then) contemporary Bombay, regularly featured many of the characteristic elements of Hollywood film noir, including heroes (most consistently embodied throughout the period by the suave star Dev Anand) who skirt the border of legal and illegal activity; like their counterparts in American film noir, these are men who are streetwise but can confidentially negotiate swanky nightclubs featuring alluring femmes fatale (often explicitly Westernized through signifiers such as clothing, smoking, and the use of English) as well as the semi-illicit temptations of alcohol and gambling. Even somewhat earlier, since the mid-1970s, representations of Bombay’s criminal underworld and the glamorous if doomed lives of gangland ‘dons’ and ‘goondas’ (gangsters) had become staples of Hindi cinema. The latter half of the decade was especially dominated by a series of films featuring superstar Amitabh Bachchan in his wildly popular ‘angry young man’ persona.

Keywords:   Noir, Indian Cinema, Mumbai Noir, Hindi Films, Bombay, Amitabh Bachchan

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.