I think many hardboiled writers fall into the trap, when
writing historical fiction, of feeling they have to pepper
their prose with brand names or contemorary objects to convey
historical authenticity. The same thing happens in films,
especially British films, set in the 1920s or 1930s where
every character spends most of their time adjusting their
fedora or lighting their filterless Woodbine with a Zippo or
talking on a bakelite 'phone or winding their gramophone. And
the newspaper reviews then talk about a
'lovingly recreated period atmosphere.' It's as if the props
department was the most important contributor to the film.
Most good 1920s or 1930s hardboiled films ('Chinatown',
'Mulholland Falls', 'Devil in a Blue Dress') don't overload
the scenery with props.
-Stephen Holden-
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