Noir came on the scene after the second world war, and there are purists who insist that only those films created in the two decades after pearl harbour can be considered true noir. The message was clear, women had taken over while the men were at war, but now it was time to get these femme fatales back into their place before they destroy everything. Consequently most noirs end with the woman dead and the man's life ruined.

Later noir films copy the style and sultry feeling of these period classics, but the edge is missing, since the social intent of the films is no longer appropriate--if it ever was. Such neo-noir films as Chinatown or Body Heat, then, although powerful in their own way, almost seem to play with the genre.

And the strength of Palmetto is its playfulness. Woody Harrelson is the good guy who is lured into a web of intrigue by Elisabeth Shue. Both have stylized entrances typical of noir characters. Harrelson introduces himself through a voice over, and Shue is introduced as a collection of body parts. We see an ankle, then a neck, maybe a shoulder, etc, but it takes a long, long time before we see all the bits put together. Both Harelson and Shue are a lot like Fred MacMurray and Barbara Stanwyck in Double Indemnity. They are misfits, and we feel that they are either overacting or just in the wrong role or something, but it's all part of the game.

And both Harrelson and Shue seem to understand the game and ham well. Both characters, for example, have ridiculous barroom habits. Harrelson orders bourbon but says he doesn't drink, while Shue seductively places a cigarette between her lips, only to explain that doesn't smoke.

And so is established a campy yet respectful neonoir atmosphere, over which is smeared a whodunnit with some interesting plot turns and twists that are probably somewhat predictable, but certainly keep the story rolling along.

For me, the real delight of this movie is its refusal to be completely serious, and in case the audience fails to miss the strong undercurrent of humor, Harrelson helps out by bumping into walls every now and then. Because, after all, in reality people just don't act like this. I don't care how how it is, dialogue like that between Shue and Harrelson is never meant to be anything other wonderfully over the top and fun.

I really enjoyed Palmeto, and recommend it. I do suggest viewing Double Indemnity as well, either before or after Palmeto and enjoy the campy atmosphere so wonderfully portrayed in both.