“A Funny and Informed Love Letter to Noir”
Noir is a genre that has long since been diluted into vague pastiche and misunderstanding of what it once was. Truly good noir satire must toe a careful line, appearing recognisable to laymen while remaining knowledgeable enough to satisfy noir devotees, a balance that Press to Pulp strikes almost perfectly.
The persona of the noir detective is split into four, each representing different aspects and evolutions of the genre. This provides an effective entry point for audiences of all levels of familiarity. Whether deeply informed or entirely new to noir, there is something recognisable in these characters that makes the target of the play’s satire immediately clear. Within the story, this device is neatly justified through a handful of real anecdotes about Raymond Chandler, one of the most prolific noir writers of the 1930s and 40s. As a fan of Chandler’s, the inclusion of the famous story about neither him nor the screenwriters knowing who killed the chauffeur in The Big Sleep is particularly charming.
These references prove to be more than playful nods. The very construction of noir storytelling becomes integral to the play’s central mystery. Especially effective is the main twist, which is expertly foreshadowed and answers questions that were not even apparent at the time. Much like classic noir, however, the plot itself leans toward the convoluted and hard to follow, with the sharp wit and charm of the characters providing the main appeal.
The central detective, Carmady, is a delight, perfectly nailing the 1940s transatlantic accent and delivering Chandler-esque quips with natural ease. The women of the story, Fran Fatale and Mrs Broaddame, are similarly effective and genre-accurate. Some of the other detectives are less successful. Dumas, in particular, is a one-note character whose note quickly becomes more irritating than amusing. Melvin and Evans fare slightly better, though there is a lingering lack of clarity around exactly what aspects of noir they are satirising. While all three convey recognisable tropes, they suffer in comparison to the sheer watchability of Carmady, making time spent away from him occasionally frustrating.
Ultimately, the production’s enthusiasm and affection for noir shine through its shortcomings. Most importantly, Press to Pulp never stops being funny and rarely loses sight of its genre roots. The performance seen was a work in progress, and it is easy to see that with a little refinement, it has the potential to be something genuinely special.