Classic noir is not nearly as cynical as neo-noir, and many historians of classic noir make the error of elevating the "cynicism quotient" in noir to make a smoother (but inaccurate to the point of outright dishonesty) transition to the cynical meta-irony in neo-noir.
That's why the two points of view that emerge in MARGIN CALL are noteworthy, why the film is engaging with the psychological exchange rates that operate in the noir universe. I suspect Grant might well see this if it were pointed out to him; as indefatigable as he is, I'm sure that tracking down obscurities from the classic era (particularly from around the world, as he is Scottish and not quite so enthralled with American exceptionalism as some others) takes up most of his time. He's also a crime novel enthusiast, and reading takes at least as much time as watching a film, so films on the margins (no pun intended) of noir may simply have to be down the page a good bit on his priority list.
Responses