Film Noir Style: The Killer 1940s by Kimberly Truhler

Kimberly Truhler is a film historian and fashion historian who has worked with Turner Classic Movies, the BBC, Christie's,  the National Film Registry, and yet others. She is an expert on costume design in film and how it intersects with fashion. If you know Kimberly (as I do), you realize that she knows the subjects of costume design and fashion very, very well. It is for that reason that I was looking forward to the publication of her book, Film Noir Style: The Killer 1940s. I was not disappointed.

In Film Noir Style: The Killer 1940s Kimberly examines the role of costume designers in the films noirs of the Forties and the lasting impact they sometimes had on the world of fashion. The book is divided into four sections: "Before the War 1940-1941," "The War Years 1942- 1945," "The Year of Transition 1946," and "The Post-War Years 1947-1950." Within those sections are essays on some of the greatest noirs ever made: The Maltese Falcon, Murder, My Sweet, The Postman Always Rings Twice, Out of the Past, and others. Because film, costume design, and fashion do not happen in a vacuum, Kimberly addresses much of the history of the Forties and how it impacted film, costume, design, and fashion, from World War II to the Red Scare. As might be expected, she discusses the costume designers who helped shaped the film noir movement, including Bonnie Cashin, Edith Head, Irene, Oleg Cassini, and others.

Kimberly's writing is concise, so that she is able to convey a good deal of information in a short period of time, while at the same time remaining immensely readable. She explains the creation and construction of the clothing used in film noir in such a way that it is easy for someone unfamiliar with costume design to understand. Complimenting Kimberly's prose are dozens of photos from the various films discussed, as well as photos from the era. Film Noir Style: The Killer 1940s also has a very pleasing layout, so that the photos do not detract from the prose.

My only real caveat with Film Noir Style: The Killer 1940s is that I do wish she had discussed the costumes of Ann Grayle (Anne Shirley) in Murder, My Sweet. The costumes of "Big League Blonde" Helen Grayle may be bolder than the more modest costumes worn by Ann, but I have always thought Ann's costumes were impressive in and of themselves. They certainly often a sharp contrast to Helen's costumes and helped define Ann's character in opposition to that of Helen. That having been said, this is a very small quibble and it certainly didn't distract from my enjoyment of Film Noir: The Killer 1940s. There is simply so much to love about this book.

Kimberly not only has a deep understanding of film, fashion, and costume design, but of the film noir movement itself. Fans of film noir will certainly appreciate how she traces the evolution of film noir and how its costume design continues to have an impact. I am certainly looking forward to any follow-up Kimberly might write on the noirs of the 1950s.