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Like a tantalizing mirage, film noir haunts modern filmmakers. Noir is the genre of night, guilt, violence and illicit passion, and no genre is more seductive. But the best noirs were made in the 1940s and 1950s, before directors consciously knew what they were doing (“We called them B movies,” said ).
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Once the French named the genre, once a generation of filmmakers came along who had seen noirs at cinematheques instead of in flea pits, noir could never again be naive. 
One of the joys of a great noir like “” (1954) is the feeling that it was made by people who took the story perfectly seriously. One of the dangers of modern self-conscious noir, as Pauline Kael wrote in her scathing dismissal of “Body Heat,” is that an actress like comes across “as if she were following the marks on the floor made by the actresses who preceded her.” Advertisement. And yet if bad modern noir can play like a parody, good noir still has the power to seduce.