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People went out of their way to please him. I think the process involves at least two things. First, you need categories, some fresh conceptual groupings that allow for a perspective shift. Second, you relate the film in question to other particular films—that is, you pick prototypes of the categories. Is your prototype of a horror film Cat People, Halloween, or Saw?

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Take film noir. A film might be a thriller, crime melodrama, even a horror movie.

I discuss the elasticity of these categories here. When French, then American critics started talking about film noir, they were creating a perspective shift.

Something like this perspective shift occurred to me when I was writing my book, Reinventing Hollywood: How s Filmmakers Changed Movie Storytelling. I tried to come up with some categories that could show continuity and change in film narrative of the period.

I looked for strategies of plotting and narration that cut across received categories like genre. Some had come to be associated with certain genres thanks again to prototypes , but I found that they were quite pervasive.

Once I was peering through the lenses of these categories, my prototypes changed too. Part of murder culture was the rise of the serial-killer tale—not new in the s, of course, but more common than in earlier Hollywood eras. Then Monsieur Verdoux appeared in a new light. Welles was a thriller fan. He carried a trunkload of crime novels around on his travels. Arkadin and Shakespeare adaptations Macbeth, Othello.

According to biographers, Welles wrote a screenplay based on the wife-murderer Landru and offered the role to Chaplin. Chaplin at first accepted, then decided to direct the film himself and bought the idea from Welles.

This long gestation period is significant because when Chaplin started, the idea of a comedy about killing would have been fairly fresh.

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By the time Verdoux was released, however, Arsenic and Old Lace and Murder, He Says had already shown that audiences would accept humor mixed with homicide. Both Arsenic and Murder, He Says treat murder with a consistently farcical tone.

For one thing, he takes the conventions of the serial-killer film more seriously than the other films do. He goes on to amplify and exaggerate those conventions in fascinating ways.

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Uncle Charlie in Shadow of a Doubt is far more poised. There were dead narrators in 40s films before Sunset Blvd. The Tramp as provocateur Verdoux failed in the US for several reasons.