I went online to research screenplay tone, particularly related to the film noir genre, and found some great explanations:
First, let me offer this excellent definition of screenplay tone.
In a screenplay, the tone is the most elusive element. It doesn't necessarily have a physical form on the page but emerges from between the lines as a conglomeration of dialogue, structure, character, and narrative development. It manifests as a feeling rather than a tangible entity.
To me, the tone is like The Holy Spirit of screenplays.
I also found these definitions of Film Noir.
Film noir is a style of American filmmaking from the 1940s and 50s characterized by detective protagonists, seedy settings, shadowy lighting, and a fatalistic tone. The genre established memorable cinematic elements and tropes that still influence filmmakers.
However, Film Noir was first created by the French, as identified by this definition.
Film noir (French: "dark film") style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post-World War II era.
I'm posting this topic because I can think of no better tone illustrations than in classic film noir and neo/noir films I've viewed. Of course, a superb practitioner of the genre was actor-director Orson Welles, who made some of the best film noir movies like Touch of Evil and Lady from Shanghai. Naturally, I also can't help of think of actors like Humphery Bogart, Robert Mitchum, Gloria Graham, and Robert Ryan. They were superb at playing the characters that populated the darker, primarily black and white world.
Film noir has influenced my work in recent years, including my latest screenplay Tunnel Rats, which has an LA detective traveling to Saigon to help solve the murder of an American diplomat. For this story, I used the first-person narrative just enough to create an atmosphere but not get in the way.
My lead character has a fatalistic view of love and relationships in my dark comedy screenplay, The Prince of Walgrove Manor, a noir-influenced story. In the third act, while juggling several women at a party, he is shot by one of his lovers. Here's what a film festival reader said about TPOWM:
This screenplay has the relaxed, hang-out atmosphere of a Linklater film or "Once Upon a Time in Hollywood" by Quentin Tarantino. It also has shades of "Inherent Vice." From the analyst's subjective standpoint, the most appealing or significant aspects of The Prince of Walgrove Manor are its tone. This film has an unhurried, comedic tone that feels likable and infectious. Before things spiral out of control, the writer lowers the audience into a casual world of easy hookups, good times, and fun gigs. People aren't so quick to fret and complain. Billy, as a character, feels confident but not cocky. The film, overall, has a refreshing tone of mischief and fun.
This reader understood what I wanted to convey.
What's your take on tone?
Are there any practitioners of the film noir style?
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Thanks for posting this, Phillip!
Reading this post really got me to thinking about tone...and, thus far, I've striven to create stories that are lighthearted, comic, irreverent.
I want to create something fun...even when it takes on an issue that people have nightsweats about.
If any other Stage 32 members want to check it out, freshmanscreenplay.com has an article called "Screenplay Tone: The Definitive Guide."
Here's the link:
https://freshmenscreenplay.com/screenwriting-tone/
Jim, I inject humor into almost everything I write. I can't help myself.
Keeping things low budget helps with the look of film noir for sure since the lighting is usually limited, harsh shadows. Point is, a low budget can help
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Tone and world of plot should be established by end of page 1.
Stephanie: Thanks for the suggestion for Black Spot. I've watched a few Nordic Noir, and their climate is a good backdrop for a bleak setting. I particularly liked The Vahalla Murders.
Dan M - I think that's pretty true, but I also want to know who (character) I'm supposed to be routing for - I'll give you twelve eights. I also look for some conflict, so maybe I'll go the end of page 2.