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    This tells us that the most men are doing something that essentially scares off women before they even had a chance to say "boo" yet they are less likely to do anything about it.

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    We talk about noir plotting and tropes, but in fact it drew liberally from the gangster pics of the Depression/Prohibition era, crime procedurals, heist movies, horror films (again, the German Expressionist influence), romantic melodrama, Gothic thrillers, tawdry B-movies, and that other quintessentially American breed, the Western.

    We admire its heavily stylized approach—exaggerated camera angles, tension-crafting mise-en-scène, flashbacks, deep focus and trademark shadows—but also its neo-realist and documentary-like experiments.

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    Then there are the sub-classifications within the subgenre: proto-noirs, foreign noirs (like the British “Spiv” cycle), neon noirs, and, of course, neo-noirs.Maybe that’s what makes a list like this so problematic—Raging Bull has strong noir elements, as do Hardcore, Klute, To Live and Die in L. The first Sin City is a terrific pastiche, as is Carl Reiner’s more sincere homage, Dead Men Don’t Wear Plaid.The original Insomnia was a brilliant reverse noir, exchanging the claustrophobia of night for Nordic midnight sun. We think of a never-ending, rain-soaked night—sunlight replaced with neon and nocturnal reflections, the optical trickery of mirrors and shadows—but in contrast, the days of noir scorched its characters.Enter the private detective and his antihero ilk—a scarred, brooding fella who for his considerable flaws was sympathetic.

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