TimHare

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Everything posted by TimHare

  1. For me, the funniest part of this gag is how they keep pushing the gag further and further. Every time you think they can't add any more people, they add another or three! Building, building, building! One's laughter builds as well - you can hardly catch some of the jokes for laughing. I think the door opening by Mrs. Claypool is nothing more than a way to end the gag, it's not really a punchline in the traditional sense... it may be, however, a nod to the closet gag on radio's "Fibber McGee and Molly"?
  2. TimHare

    The telestrator is a great addition

    I agree - the telestrator adds to our understanding of some of these scenes; I second the motion that you don't go all John Madden on us, unless it's the gag from "Little Giants" where he helps the kid with the play called "The Annexation of Puerto Rico" :-)
  3. In "Tillie's Punctured Romance" I would venture to say that Marie Dressler and Mabel Normand did almost as many pratfalls, slips, and unusual physical moves as Mr. Chaplin ! Much as Margaret Dumont is essential to Groucho in many movies, these two were a big part of this movie, yet the general public hears little of them compared to Chaplin.
  4. I am getting the 'unauthorized' message when I click on the link to the Daily Dose of Doozy #2, also.
  5. I'm catching up (thanks, Hermine!) so forgive me if I'm repeating, but one of the most comedic aspects, to me, of this early film is the anticipation: we know what's going to happen as soon as the boy steps on the hose (really when he gets near it), but we wait, and wait, and wait for it to happen. It's timed really well, so that even though we know what will happen, we are surprised when it does.
  6. I have to "catch up" daily on the Summer of Darkness board - but when I open a topic, the newest message is at the top. How can I change the sort order of the messages within a topic? I can't find out how to do it. I changed the sort order on the board to A-Z but it didn't affect the order of the mssages
  7. One thing that I don't remember hearing a lot about is the intersection of "Beat Generation" ideas and film noir. Remember that the post-war years were tough years - job shortages for people returning from the war; cultural adjustments - women who had gained independence and self-confidence through war work now asked to return to home-making only; a housing shortage; guys who had lived life on the edge returning to now-seeming-dreary-work. Some of that spawned the ideas of the Beats who first met up in New York in the 40s. In this Wikipedia article it says: 'The adjective "beat" could colloquially mean "tired" or "beaten down" within the African-American community of the period and had developed out of the image "beat to his socks" : and you can see the tired and beaten down aspects in the "grittiness", the drinking, and the problems of so many noir "heroes". You can also hear it, if you listen, in the music - especially in the later years (the 50s) when "cool jazz" became more popular - for example, this song - always evokes noir images for me.
  8. TimHare

    "Beat" and noir

    Updating here to ask if anyone else noticed the "craziness" of the jazz band and "Jive lovers" at The Fisherman bar in DOA? They made them appear to be almost manic personalities
  9. I had to travel on the 26th and the hotel I stayed at did not have TCM (I shall speak to the management about this!! ) - is there any place to discover which ones are available via Xfinity On Demand or Watch TCM?
  10. Are there any pointers to the 6/26 noir movies On Demand (Xfinity) or on Watch TCM, or do I just need to find the listings through other means?
  11. Is there a way to get from a TCMdb listing to "when is this movie next scheduled on TCM" or "is this movie available 'On Demand' from my cable provider" or "is this movie available on WatchTCM"? I'm specifically looking for Summer of Darkness movies right now, but I feel this would be a nice link to have, and for advertiser-supported things might actually make TCM a little more money if people could impulsively decide to watch a movie they just read about in the database.
  12. Lime's entrance is effective in at least two ways: It is unexpected, at least to my mind. I haven't re-watched it yet, but as I recall the film, Cotten's character has been searching for days and has finally given up; we the viewers have given up along with him when suddenly he appears! The lighting of just the face, with the wry little smile and no dialogue. I also contrast this with the other entrances we've seen this week - those were primarily from the light, into the shadows. Even John Garfield's introductory sequence took him from bright sunlight into the less-well-lit diner. This entrance is exactly the opposite - from the shadows into the light, from the hopelessness of a fruiteless search to the hopefulness of seeing Lime, if only for a short while, to let it be known he's not dead.
  13. I don't think the lipstick scene with Lana Turner is so much about seduction as it is control - who will have the upper hand in this relationship? Garfield asserts that he will be, by making her come to get the lipstick, but her actions afterward belie that notion - she acts as though nothing serious has happened, and she leaves, asserting her own control of the situation.
  14. Notice the shadows and diagonals as we pan the floor to Turner's legs. If we were in the theater when this was new, and we had seen any noir films prior to this one, we'd immediately think "trouble". Her face being in light shadow, in addition to what she's wearing, let us know that this is no happy homemaker.
  15. I got to thinking, after reading some of the discussions: how much of the creepiness/dread we assign to the film is due to our pre-knowledge that Peter Lorre won acclaim for his acting in this role and that it is this role, some say, that caused him to be typecast as a "creep"? Are we expecting creepiness just because we know about Mr. Lorre and/or because we read the review of the film? I think I might try to limit my advance knowledge of some of these films (except of course for the well-known classics) and see how that goes.
  16. -- Describe some of the things Marlowe says or does that make him a new kind of private detective? He implies that he does jobs that aren't completely "clean", perhaps bordering on illegal, but that he has his own internal moral code. This "seedy character with morals" is a change from the clear-cut "good guy" / "bad guys" situation in earlier detective films. -- Why do you think this kind of private detective fits so well within the film noir context? Film Noir is "darker" than other crime movies, and the lines between good and evil are not straight, clear-cut lines, but smoky, blurry, guidelines that are sometimes stepped over. Ambiguous situations call for a morally flexible (externally at least) detective. -- In what ways can this scene from Murder, My Sweet be considered as an important contribution to the film noir style? I think it introduces the idea of the private detective as a sort of shady, and as I said early, morally ambiguous, character.
  17. So many spoilers in this very long thread! I am trying to skip past them all. I haven't seen the film I like that the furnishings in the room tell me I'm dealing with someone who collects, but is a tad odd, before I even see him. I like the introduction of the two men - we immediately see them as opponents, even though we have no reason to be suspicious of Lydecker until the dinner with Laura is mentioned (and even then I realize I am only suspicious because I've watched so many crime movies and television shows that anyone who saw the dead person is some sort of suspect). Their faces didn't tell me much, though, other than 'eccentric' (Lydecker) and 'unphazed' (McPherson)
  18. TimHare

    Facebook Group

    Perhaps because they perceive "Summer of Darkness" as belonging to TCM, TCM would have to start a FB group or page for it?
  19. TimHare

    "Beat" and noir

    I want to point out that the song I linked to was composed in 1939 - just before what we've learned is the scholars' belief is the beginning of noir - although I always associate it with the 1950s for some reason.
  20. As with many, the demands of the day kept me from seeing all of the films, and I don't know how many I will catch up on during the week - maybe some that are available on WatchTCM. I would have liked to be able to see some of the later progression in the evening (East Coast), but I still have some comments: 1. We can easily see the influence of the lighting and shots from movies like 'M' on later noir films, but I think it is a mistake to think all noir movies have to have this kind of lighting. To me, noir films have a darkness of attitude or situation - they take place often in an "underworld" of sorts not seen by "normal, respectable" people - and while the stereotypical noir lighting and cinematography can be used to convey that feeling, it can also be conveyed by dialogue, acting, and situations or scenery. A a greasy spoon diner at lunch in a downtrodden neighborhood can be just as 'noir' as a seedy bar . 2. I missed most of La Bete Humaine (I fell asleep because 'M' was on so darn early ) but the introduction of his "compulsion" to strangle his godmother's daughter (I think that was the relationship) seemed kind of odd. 3. I think High Sierra deserves a noir nod because the protagonist just can't catch a break - the job where he "can't see anything wrong with it" goes sour, the guy who's supposed to pay off dies, the second pay-off guy delays payment, then he's ratted on and has to run. Even when he tries to do good things they don't work out well.
  21. Since their have been previous murders, the children have created the chant/song perhaps as a warning to themselves to be vigilant - yet none of them seem to be. The whole opening scene, to me, not only tries to establish "normalcy" but also to let us know that these are poor, working people perhaps in the lower rungs of society, and that these are the prey of the predator.

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