[Editor’s note: The following essay contains spoilers for both “Hit Man” and “The Dark Corner”]
It’s at all times been clear from watching Richard Linklater movies that the auteur — who rose to fame through the impartial movie motion of the ‘90s and stands as one of many trendy masters of American cinema — is fascinated by time. Not simply the sensible software of it, nor simply the passage, however the true essence of it. How does one seize childhood? What concerning the teen years and faculty? What does it seem like to compress these into one vs. focusing in on one second? These are questions Linklater has answered, however a query the viewers ought to be asking in return is why does Linklater use his movies to make these research?
I imagine the reply lies within the historical past of movie itself and what it has given Linklater, by way of inspiration and affect, but additionally by way of how the artwork type of cinema acts as a time machine, bringing viewers again to intervals in a diegetic sense, in addition to — because the invention of the digicam — moments that really existed however have lengthy since handed. How does this apply to Linklater’s newest outing, “Hit Man?” Finest to reply utilizing one other film, a noir from way back referred to as “The Darkish Nook.”
Directed by Henry Hathaway, of “Niagara” (1953) and “True Grit” (1969) fame, and starring Lucille Ball (pre-“I Love Lucy”), Clifton Webb, Mark Stevens, and William Bendix, “The Darkish Nook” begins as your customary pulp crime thriller with the shady P.I. and his bawdy secretary being pulled right into a case, however rapidly spins itself in instructions sudden and fascinating. Stevens performs the P.I., Galt, who’s troubled previous resurfaces when a former accomplice sends a heavy to tail him. Fact is although, the heavy is working for one more fella with pursuits in killing Galt’s former accomplice and utilizing Galt to do the deed.
Although “Hit Man” in the end shifts into romantic comedy territory, its plot and characters actually have roots in noir, with Glen Powell taking part in professor/informant Gary Johnson not as a cop, however a servant of justice who understands the legislation’s malleability. In watching, I used to be reminded of “The Darkish Nook” and the way movie can seize what’s modified and what’s stayed the identical, usually on the similar time. Taking a look at Galt and Gary side-by-side, sure similarities begin to seem as properly. Each are figures marred by their histories, placing up defenses by going after others, attempting to make a brand new identification for themselves whereas holding onto their usually good natures.
What additionally makes “The Darkish Nook” stand out in relation to “Hit Man” is how they each use feminine characters to attract their male figures out of the shadows and in the direction of a brighter place of their lives. Ball performs Galt’s secretary, Kathleen, an ready assistant and accomplice, however with romantic pursuits that encourage her to assist preserve her boss alive. She’s not the femme fatale determine of “The Darkish Nook” — although there may be one for positive — however moderately, Kathleen exists to remind Galt of what’s doable as soon as he’s lastly in a position to cease trying over his shoulder. She’s a motivator, very like how Adria Arjona’s Madison performs in “Hit Man.”
Launched as an abused spouse wishing to kill her husband, Madison is ready as much as be Gary’s femme fatale, however finally ends up changing into his alter ego Ron’s new girlfriend. When Madison’s husband finally does find yourself murdered and Madison admits to Gary/Ron that she did it upon what she thought had been his directions, Gary finally ends up changing into un homme fatale in his personal proper. The will to current girls in a extra nuanced means inside a style that has stereotypically painted them as calculated and merciless is one thing that binds “The Darkish Nook” and “Hit Man” regardless of being made 78 years aside and additional illustrates how cinema might be considered as echoes via time.
The final comparability to be made is in how each movies use antagonistic foils to attract ethical and moral quandaries that seem complicated, however find yourself being moderately easy. In “The Darkish Nook,” Galt’s foil shouldn’t be his former accomplice, however the heavy in a white go well with (maybe satirically so) despatched to tail him. Like Galt, the heavy is used to getting his fingers soiled, however in contrast to him, truly appears to get pleasure from it. In the identical respect, Gary’s police counterpart, Jasper — a person given the authority of the legislation, however who flagrantly abuses it — serves to remind Gary that there are good and dangerous individuals everywhere and as long as you tip the size in the proper course, most dangerous actions might be written off for the advantage of all. It is a philosophical dialog solely an observer like Linklater can draw out of the noir style and one he handles straight inside the movie, bucking the custom of a tragic conclusion for considered one of hope and risk.
Did Richard Linklater watch “The Darkish Nook” earlier than making “Hit Man?” In all probability not. High quality copies of the movie are onerous to search out, although a shabby one might or might not be discovered on YouTube (you didn’t hear it right here). Nevertheless, Linklater has, definitely, considered different noir movies of that period and transmuting their classes into his personal work appears doubtless based mostly on how the movie is structured and tone it takes on. In actual fact, early on, the movie references earlier movies that developed the concept of the “hit man” within the public eye regardless of the job not likely being as frequent because it’s portrayed. On this means, once more, movie historical past allowed for the entire idea of Linklater’s entry into the noir style to happen. Maybe others ought to take his lead with a visit again in time and a viewing of “The Darkish Nook.”