Some hard-core film noir enthusiasts could break the bank collecting movie memorabilia. Some, like writer-director-actor Thomas Konkle and cohorts, decide to make their own film noir instead. The result, Trouble Is My Business, is both tribute and pastiche, deadly serious but with a nod and a wink to fellow noir aficionados.
The early to mid-1940’s roots of film noir may start with bigger budgeted crime melodramas starring Lauren Bacall, Humphrey Bogart, John Garfield, Barbara Stanwyck and Lana Turner. But the classic postwar film noir era surely counts many more projects with a little less prestige, made for a lot less money and not always through the major studios. Not every 40’s/50’s noir was directed by the likes of Billy Wilder or Fritz Lang. Paraphrasing some genre luminaries, those involved didn’t realize they were making ‘film noir’, only cranking out low-budget crime flicks on tight schedules. The dark, shadowy look we cherish today was sometimes no more than a convenient way to mask underpropped sets and over-familiar backlot locations.
Consider Thomas Konkle’s Trouble Is My Business an earnest love letter to those noir cult faves, the film’s look betraying its tighter-than-tight budget, but happy to overlook it in classic B-movie style. Cowritten by Konkle with Brittney Powell, directed by Konkle, and produced by Konkle along with Michael Smith, Trouble Is My Business drops us right in the middle of the very time and place the film pays tribute to: Los Angeles in 1947. There, down on his luck private eye Roland Drake (played by director co-writer Konkle himself) sees a chance for redemption – which, in classic noir style, will inevitably lead him into something more sinister – with the fetching Montemar sisters: First with lovely Katherine, who winds up dead after she and Drake wind up in bed…and then with femme fatale Jennifer Montemar. Both roles are played by Brittney Powell, relying on a wig and her performance as a disguise.
Noir tropes and clichés abound, from crafty dialog to the SoCal location shots and a memorably nasty thug with a badge. Brimming with noir-stereotype scenes and set-ups, Trouble Is My Business also indulges viewers with a glimpse of what went really on behind closed doors in those 40’s/50’s era films which were still made under the swiftly disintegrating production code. But to the film’s credit, Konkle and Powell get the screen sizzling a bit without going for the cheap shots.
I don’t know what you get with downloads or online viewing. The Trouble Is My Business‘ deluxe’ DVD set comes with both color and black and white versions. Assuming it was shot in color and converted to B&W, like so many television series’ retro-noir novelty episodes, it’s interesting to see both and then to compare the B&W version to postwar noir classics…the well-funded and poverty row titles as well. I’m no cinematographer, and can’t even shoot a decent still-photo to save my life with a phone or camera. But to my inexpert eye, the oldies exhibit richer, deeper darks and more striking haloed lighting effects than contemporary equipment can manage. But then, maybe it’s precisely that dark magic achieved 60-70 years ago that drove enthusiasts like Thomas Konkle, Brittney Powell, the actors and crew to create an earnest homage like Trouble Is My Business.