Noir is many things. Often, it concerns a protagonist who is in over his head, who's been taken in by a woman who is nothing but bad luck or is paying for a past sin he thought he'd escaped. He finds that he's living in a world with right and wrong don't mean much, where good intentions mean little and where there's no escape. Society's corruption and greed is so deeply entrenched that one man, good or bad, doesn't stand a chance.
Then there are the visual aspects of noir -- the shadowy lighting, the expressionist camera angles.
Then there's the general hardboiled tone -- in the acting, the dialogue.
These are just some of the elements that frequently appear in films noir.
MOB CITY has some of these elements, but they're warmed over, cliched, tired. BOARDWALK EMPIRE has some of them, too, but they are much fresher and genuine there. The budget for that program is clearly higher (or, in any case, they're getting more for their money), the acting and writing are infinitely better, and the period touches -- the slang used in the dialogue, the music, the costumes -- are MUCH more accurate than in MOB CITY.
The model that MOB CITY seems to be aiming for is L.A. CONFIDENTIAL, and it falls so ridiculously short of the standard set by that picture that it's laughable.
I don't know why you asked me to list other noir gangster series -- that's not the point. We have posters here who keep lecturing us that if we don't like MOB CITY, we clearly don't understand the film noir genre. Quite the opposite is true: anyone who know and loves film noir is likely to find MOB CITY lacking -- because we've seen the greats in the genre and know what's possible. Anyone who's seen DOUBLE INDEMNITY, OUT OF THE PAST, DETOUR, THE MALTESE FALCON, or any of a dozen other great noirs would recognize immediately how far short this series falls.
And I've not even mentioned the show's shoddy production values: the ridiculous studio-bound sets, the period-inappropriate music and clothing, the predictable plot and pedestrian (at best) dialogue, the one-note, one-dimensional characters (and the middling actors unable to overcome the bad writing).
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