Best 155 quotes in «noir quotes» category

The remaining chain swung down, he wrenched the door out and he was free. The last thing he heard behind him was the oncoming stomp of running feet. Now began flight, that excruciating accompaniment to both the sleep-dream and the drug-dream as well. Down endless flights of stairs that seemed to have increased decimally since he had come up them so many days before. Four, fourteen, forty - there seemed no end to them, no bottom. Round and round he went, hand slapping at the worn guard-rail only at the turns to keep from bulleting head-on into the wall each time. The clamor had come out onto a landing high above him now, endless miles above him; a thin voice came shouting down the stair-well, "There he is! See him down there?" raising the hue and cry to the rest of the pack. Footsteps started cannonading down after him, like avenging thunder from on high. They only added wings to his effortless, almost cascading waterlike flight. Like a drunk, he was incapable of hurting himself. At one turning he went off his feet and rippled down the whole succeeding flight of stair-ribs like a wriggling snake. Then he got up again and plunged ahead, without consciousness of pain or smart. The whole staircase-structure seemed to hitch crazily from side to side with the velocity of his descent, but it was really he that was hitching. But behind him the oncoming thunder kept gaining. Then suddenly, after they'd kept on for hours, the stairs suddenly ended, he'd reached bottom at last. He tore out through a square of blackness at the end of the entrance-hall, and the kindly night received him, took him to itself - along with countless other things that stalk and kill and are dangerous if crossed. He had no knowledge of where he was; if he'd ever had, he'd lost it long ago. The drums of pursuit were still beating a rolling tattoo inside the tenement. He chose a direction at random, fled down the deserted street, the wand of light from a wan street-lamp flicking him in passing, so fast did he scurry by beneath it.

There’s no tragedy you can’t profit from.

There was, I thought, something calling to me from out in the dark. It came from out in the tempest, even from the lights of the fishing boats a mile out at sea. You can be called to a last effort, a final heroic statement, because I doubt you call yourself to leave comforts and certainties for an open road. But the call is inside your own head. It's a sad summons from the depths of your own wasted past. You could call it the imperative to go out with full-tilt trumpets and gunshots instead of the quietly desperate sound of the hospital ventilator. Victory instead of defeat.

The struggle doesn't last long; it's too unequal. Their momentary surprise overcome, they close in on him. The well-directed slice of a gun-butt slackens the good arm; it's easy to pry the disabled one from around the racketeer's collar. Tereshko is trembling with his anger. 'Now him again!' he protests, as though at an injustice. 'All they do is die and then get up and walk around again! What'sa matter, you guys using spitballs for slugs? No, don't kick at him, that'll never do it - I think the guy has nine lives!' ("Jane Brown's Body")

The woman felt healed. This stranger understood her. He knew, on a personal level, everything she was going through. And he was asking her to stay alive. Because of him, her angry feelings melted away. She wanted to live again.

This is the best book ever written on its subject. Granted being the only such book takes a lot of the steam out of that accomplishment.

This is the Rock, sweetheart,” the owner added. “There’s no tragedy you can’t profit from.

This may not be art as art commonly goes; the lack of discipline, of control, would seem to rule it out of that category. And yet Woolrich's lack of control over emotions is a crucial element in his work, not only because it intensifies the fragility and momentariness of love but also because it tears away the comfortable belief, evident in some of the greatest works of the human imagination such as Oedipus Rex, that nobility in the face of nothingness is possible. And if Woolrich's work is not art as commonly understood, there is an art beyond art, whose form is not the novel or story but the scream; and of this art Woolrich is beyond doubt a master. ("Introduction")

There were three of them in the room now, where only two had first come in. Death was in the room with the two of them.

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division. ("Introduction")

They watch her when she comes to City Hall, they watch her at the social events, they watch the way she walks, hips rolling with no suggestion of provocation but with every sense that she knows more than any of the rest. A woman like that, they seem to be thinking, a woman like that has lived. Their wives from Orange County, they come from Minnesota or Dallas or St.Louis. They come from places with families, with sagging mothers and fathers with dead eyes and heavy-hanging brows. They carry their own promise of future slackness and clipped lips and demands. They have sisters, sisther with more babies, babies with sweet saliva hanging and more appliance and with husbands with better salaries and two cars and club membership. They iron in housedresses in front of the television set or by the radio, steam rising, matting their faces, as the children with the damp necks cling on them, sticky-handed. They are this. And Alice… and Alice…

Trust me. What a phrase. Is it a phrase or an idiom? I was never a wordsmith and I was too far along in life to even attempt to tackle a problem as complicated as words. Do writers struggle as much with words as a painter does with his paint and his brush? “Okay,” it is impossible not to trust a beautiful woman. Even macho noir anti-heroes who talk about staying out of trouble and doin’ nothin’ for nobody always get sucked into intricate snares set for them by beautiful women… I would not be an exception.

What are you doing?” Alecto asked in surprise, stepping back. Laughing brightly, she dragged him towards the greenhouse, the shattered glass reflecting rainbows as brilliant as a million Kodak flashcubes, glittering as they were cascaded through the breeze. “See, don’t be afraid of the glass, it can’t hurt us,” Mandy laughed, spectacularly eccentric, her eyes reflecting the fallen glass. “I wasn’t afraid of the glass, but this isn’t a very secluded place that you just decided to vandalize,” Alecto cautioned, smiling despite his words. Before Mandy could reply, she heard loud whispering in the air, behind the trees… it sounded like a group of people, all whispering in unison… “Somebody’s out there,” she exclaimed nervously. “Yeah, you’re right,” Alecto replied. Suddenly a sharp new vibrancy seemed to fill his eyes and he smiled coldly, taking the tree branch from Mandy and rapidly smashing in all of Mrs. Matthias’ stained glass house windows with it. Blue, green, yellow, red, turquoise, purple and an array of other colors showered through the sky noisily, sounding like wind chimes and crashing waves. “They’ll go away,” he told her, glancing up at the sky. “…Alecto, do you like me?” Mandy questioned, holding out her arms like a lopsided scarecrow as the glass fell through her dark red hair. “Yeah, sure,” he answered. “Will you be my friend, then? A real friend, not just another person who feels sorry for me?” Mandy asked. “…Alright, Mandy Valems,” Alecto agreed.

We don’t know when the first star exploded, or when the sun caught on fire. We don’t know when the sun will stop burning and turn cold and dark, though we know it will. In between the fire and the cold, life beginning and ending, Laura, sometime after being born and before dying, plays a game and talks to a sister who has never existed, while Frank tells a little girl named Whitney a story about the life and death of a dog, a story that he sometimes believes while telling it. In the cities of the Sonoran Desert, the sunshine follows you into the shade. When you drink water anywhere, however pure the water, you’re drinking the piss of dinosaurs. The volume of water in this world has never varied. Nothing comes or goes, increases or decreases. On a speck of dust in what they call the universe, David and Frank search for Laura, and Laura searches for David and Frank. La Llorona searches for her children. Whitney wants to not be sad. All of them search for love.

What do you want me to do, learn to stutter?

Tito snored away on the other bed. Out there, all around them to the last fringes of occupancy, were Toobfreex at play in the video universe, the tropic isle, the Long Branch Saloon, the Starship Enterprise, Hawaiian crime fantasies, cute kids in make-believe living rooms with invisible audiences to laugh at everything they did, baseball highlights, Vietnam footage, helicopter gunships and firefights, and midnight jokes, and talking celebrities, and a slave girl in a bottle, and Arnold the pig, and here was Doc, on the natch, caught in a low-level bummer he couldn’t find a way out of, about how the Psychedelic Sixties, this little parenthesis of light, might close after all, and all be lost, taken back into darkness…

We were all puppets of someone in a self-perpetuating circle of pollutants, violence and hedonistic escapism.

When you write, you start with what you know and build from there. I knew a little something about the border, Texas and Mexico from my journalism days. Knew some cops and redneck outlaws, too. And I knew I wanted to write a noirish detective novel. So I started with that and went from there. Out popped Ed Earl Burch, Carla Sue Cantrell and THE LAST SECOND CHANCE: An Ed Earl Burch Novel.

When I heard the gunshots, though, I knew - knew beyond the shadow of a doubt - that somewhere in Los Angeles Bette Davis was on the prowl and packing heat. ("Shadows From The Screen")

When you're reading a good noir, the shocks and twists have a way of feeling deja vu-like, as if you saw them coming, but hoped the characters would take a left turn... not answer the phone, not sleep with that woman, not sell drugs to those cops... but knew they would. It would have been wrong if they didn't, and the real surprise can be that you care about someone you know is in for hell. You relate to them, even when their hell is so much bigger than your own. But we're all going to die, and we all make mistakes. The best noir stories make you forget plot entirely by giving you characters that feel so well-realised you can't look away as they fall.

When a child disappears, the space she’d occupied is immediately filled with dozens of people. And these people—relatives, friends, police officers, reporters from both TV and print—create a lot of energy and noise, a sense of communal intensity, of fierce and shared dedication to a task. “But amid all that noise, nothing is louder than the silence of the missing child. It’s a silence that’s two and a half to three feet tall, and you feel it at your hip and hear it rising up from the floorboards, shouting to you from corners and crevices and the emotionless face of a doll left on the floor by the bed. “It’s a silence that’s different from the one left at funerals and wakes. The silence of the dead carries with it a sense of finality; it’s a silence you know you must get used to. But the silence of a missing child is not something you want to get used to; you refuse to accept it, and so it screams at you. “The silence of the dead says, Goodbye. “The silence of the missing says, Find me.

When a beautiful blonde asks, you don't say no.

You ever choke a man out with his own shirt?” “What kind of question is that?” “A yes or no one.

Winter was gray and mean upon the city and every night was a package of cold bleak hours, like the hours in a cell that had no door.

You do know I’m not psychic, right?’ Dash looked down at her. ‘Joy...you do know that normal people don’t see ghosts, right?

You always know when somebody's dead.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

Drawing Dead is a brilliant noir from one of Australia's most exciting new novelists.

Experience has taught me never to trust a policeman. Just when you think one's all right, he turns legit.

It's a noir world. Unfair things happen.

(In) most cop shows, every cop in the squad speaks exactly the same and the same kind of short clipped film noir-ish talk.

But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore

The noir universe hates do-gooders so it tries to pound them and punish them.

I pity those born of the lighter side. They have no understanding of how seductive cruelty is. The music made out of screams and pleas for mercy. Mmmm. Nothing better. (Noir)

One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.

The cheaper the crook, the gaudier the patter.

Robert Pattinson has the face of a film-noir dupe. It's a face that is searching and open and kind. It's a face that a certain type of woman might want to fool because, in its intensely old-fashioned kindness, the face says, I love you. Fool me.

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.

This is what noir is, what it can be when it stops playing nice--blunt force drama stripped down to the bone, then made to dance across the page.

All guys are scared of each other, didn't you know that? I'm not the only one. We're all born afraid. ("New York Blues")

A Dick and Jane story written in blood and battered bone. See Spot. See Spot run. See Spot run from a gaping chest wound. Run Spot run. See Detective smear Spot into a baggy for DNA testing.

[after Sammy struggles to unhook Stilton's bra] She rolled onto her face to give him a good shot at the hook in the back. "Free my people!" "I will. I am the Harriet Tubman of your breasts.

All I knew was where it had started, a year before. The three strikes against me and all the reasons I couldn’t say no. I couldn’t have explained the girls, the women, who had briefly entered my life. Briefly changed it. [He] wouldn’t have understood their laughs, their indignations, their secrets. For the rest of the night my eyes drifted to the people on the street, the girls, the women, and I felt like I was seeing the lives they wouldn’t live.

All we can do about this nightmare we live in is to create, if we are very lucky, a few islands of love and trust to sustain us and help us forget. But love dies while the lovers go on living, and Woolrich excels at making us watch while relationships corrode. He knew the horrors that both love and lovelessness can breed, yet he created very few irredeemably evil characters; for with whoever loves or needs love, Woolrich identifies, all of that person's dark side notwithstanding. ("Introduction")

And he's alone there, with the unconscious pilot lying a little way off for company, and some other guy he's never even seen, only spoken to over the radio. He wants to sleep so badly - dying they call it - and he can't. Something's bothering him to keep him awake. ("Jane Brown's Body")

A second red-orange spearhead leaps straight at O'Shaughnessy. The whole world seems to stand still. Then the gun behind it crashes, and there's a cataclysm of pain all over him, and a shock goes through him as if he ran head-on into a stone wall. A voice from the car says blurredly, while the ground rushes up to meet him, 'Finish him up, you guys! I'm getting so I don't trust their looks no more, no matter how stiff they act!' ("Jane Brown's Body")

And then, with a shock like high-voltage coursing through me, the phone beside me started pealing thinly. I just stood there and stared at it, blood draining from my face. A call to a tollbooth? It must, it must be a wrong number, somebody wanted the Information Booth or-! It must have been audible outside, with all I had the slide partly closed. One of the redcaps passing by turned, looked over, then started coming across toward where I was. To get rid of him I picked up the receiver, put it to my ear. 'You'd better come out now, time's up,' a flat, deadly voice said. 'They're calling your train, but you're not getting on that one - or any other.' 'Wh-where are talking from?' 'The next booth to yours,' the voice jeered. 'You forgot the glass inserts only reach halfway down.' The connection broke and a man's looming figure was shadowing the glass in front of my eyes, before I could even get the receiver back on the hook. I dropped it full-length, tensed my right arm to pound it through his face as soon as I shoved the glass aside. He had a revolver-bore for a top vest-button, trained on me. Two more had shown up behind him, from which direction I hadn't noticed. It was very dark in the booth now, their collective silhouettes shut out all the daylight. The station and all its friendly bustle was blotted out, had receded into the far background, a thousand miles away for all the help it could give me. I slapped the glass wearily aside, came slowly out. One of them flashed a badge - maybe Crow had loaned him his for the occasion. 'You're being arrested for putting slugs in that phone. It won't do any good to raise your voice and shriek for help, try to tell people different. But suit yourself.' I knew that as well as he; heads turned to stare after us by the dozens as they started with me in their midst through the station's main-level. But not one in all that crowd would have dared interfere with what they mistook for a legitimate arrest in the line of duty. The one with the badge kept it conspicuously tilted in his upturned palm, at sight of which the frozen onlookers slowly parted, made way for us through their midst. I was being led to my doom in full view of scores of people. ("Graves For The Living")

A quick butchers shows up Old Bill three-handed, also a particularly nasty female grass–-and if looks were acid baths the two she collects from us would reduce her to gristle quicker than Mrs. Durand-Deacon.

Carrying a shotgun makes you less amusing.

Did you ever think much about jobs? I mean, some of the jobs people land in? You see a guy giving haircuts to dogs, or maybe going along the curb with a shovel, scooping up horse manure. And you think, now why is the silly bastard doing that? He looks fairly bright, about as bright as anyone else. Why the hell does he do that for living? You kind grin and look down your nose at him. You think he’s nuts, know what I mean, or he doesn’t have any ambition. And then you take a good look at yourself, and you stop wondering about the other guy… You’ve got all your hands and feet. Your health is okay, and you make a nice appearance, and ambition-man! You’ve got it. You’re young, I guess: you’d call thirty young, and you’re strong. You don’t have much education, but you’ve got more than plenty of other people who go to the top. And yet with all that, with all you’ve had to do with this is as far you’ve got And something tellys you, you’re not going much farther if any. And there is nothing to be done about it now, of course, but you can’t stop hoping. You can’t stop wondering… …Maybe you had too much ambition. Maybe that was the trouble. You couldn’t see yourself spending forty years moving from office boy to president. So you signed on with a circulation crew; you worked the magazines from one coast to another. And then you ran across a little brush deal-it sounded nice, anyway. And you worked that until you found something better, something that looked better. And you moved from that something to another something. Coffee-and-tea premiums, dinnerware, penny-a-day insurance, photo coupons, cemetery lots, hosiery, extract, and God knows what all. You begged for the charities, You bought the old gold. You went back to the magazines and the brushes and the coffee and tea. You made good money, a couple of hundred a week sometimes. But when you averaged it up, the good weeks with the bad, it wasn’t so good. Fifty or sixty a week, maybe seventy. More than you could make, probably, behind agas pump or a soda fountain. But you had to knock yourself out to do it, and you were standing stil. You were still there at the starting place. And you weren’t a kid any more. So you come to this town, and you see this ad. Man for outside sales and collections. Good deal for hard worker. And you think maybe this is it. This sounds like a right town. So you take the job, and you settle down in the town. And, of course, neither one of ‘em is right, they’re just like all the others. The job stinks. The town stinks. You stink. And there’s not a goddamned thing you can do about it. All you can do is go on like this other guys go on. The guy giving haircuts to dogs, and the guy sweeping up horse manute Hating it. Hating yourself. And hoping.