heytherelaur

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About heytherelaur

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  • Birthday September 21

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  1. Hitchcock uses montage to add vitality and rhythm to the scene by accelerating the music and showing the people dancing in the room. I actually like this scene because once again it shows the classic Hitchcock style. You can definitely see the influence of German Expressionist films in this scene. It is clear two different things are going on, which shows us the personality of the characters. I think the music kind of helps shows us that. In the beginning, it's very upbeat and playful as you see everyone dancing and carrying on. Nobody has a care in the world. To separate that, he cuts to the other room where her husband is sitting and looking at them through the mirror. The music changes, almost softening up a bit, to show you the different vibes of that apartment. He creates shots that are very subjective and put us into the psychological mind of a main character.The music changes and signifies what he's feeling which is jealousy. He increases that by speeding up the music again and showing images of his wife kissing the fighter.
  2. This scene is completely different from the scenes we've seen in "The Pleasure Garden" and "The Lodger." First, there is no sound. You are immediately forced to use your other senses to gain sense of what's going on the scene. You become alert of what's going on and you have to pay attention, which grabs the audience's attention. I think the dolly POV shots were brillant, putting you into the scene as always. You become part of the scene. You become a character trying to figure out what's going on. You feel like you are being interrogated and Hitchcock does just that. It creates fear and you can feel that tension as the dolly moves in particular directions. What also created more tension to the scene is that Hitchcock uses less dialogue cards. In The Pleasure Garden and The Lodger it was used a lot to tell you the story. In Downhill, you were forced to figure out the scene on your own. While watching, I personally was looking at body language, facial expressions, etc figure what was actually going on. I think that's a sign of what we are use to in Hitchcock's known films. From what I can remember from the other films, there is a theme of suspense and stripping character development. What I guess I mean is that he shows characters in a vulnerable state. Of course, he had to throw a woman in the mix of his films. I think this scene shows the evolving mastermind we're all familiar with.
  3. This opening scene of The Lodger is a different space from what we saw in The Pleasure Garden. He does once again starts the scene with a close up of blonde woman screaming. The music is much intense giving us a very dark and brooding atmosphere. Completely opposite of The Pleasure Garden which was playful and innocent. I think the opening scene of The Lodger is much closer to the Hitchcock films we are familiar with. The way " To-Night Golden Curls" is displayed across the screen reminds me of the title sequence of " Pycsho" where is just jumping out at you, giving you nothing but suspense and anxiety. He uses a lot of close up shots of the actors, so you can see their facial expressions. It sort of putting you exactly in the film and making you apart of it. He also plays with the colors of the scenes. He uses this soft blue and then in certain scenes a sapia like color. That's something I've noticed personally about this films that he uses a lot of color to help tell his stories.
  4. Yes. I definitely see some of Hitchcock's touches in the beginning sequence. First off, he has a strong "obsession" to women, particularly blonde women. That's something that flows through his movies (Grace Kelly especially and Tippi Hendren). He uses a spiral staircase giving that effect we see in Veritgo. The leering of the gentleman the dancer like James Stewart in Rear Window that represents the spectator intruding on someone's space. All these examples does have me agree with Strauss, Yacowar and Spoto assessments on this scene. I don't think their were any limitations on the scene since it was a silent film. Hitchcock completes uses his other senses to tell the story without any words, which makes it more interesting. More interesting, in a sense where he uses the music and his surroundings to help tell this story. Body movement and facial expressions definitely helps a lot. By this one clip, I wanted to see more because he perfectly captures our attention in a different type of sense.
  5. "Out of the Past" is such a great movie because of the particular realistic shots. Even though most of the scene is shot in the daylight it does contributes to the noir perfectly. First off Mitchum's voice over the shot automatically set the noir tone. It foreshadows the film, which gives the spectator the notion that this film is not going to have a happy ending. The daylight shot also gives it that documentary noir style which directors as we have learned were influenced by the German Expression movement. That scene adds depth and realness to the plot of the film. What I also love about this scene is that it also manipulates the light and dark especially when Kathie walks into the cafe. Kathie's face is very visible until she walks into the cafe. The cinematography was amazing in this scene. It was such a beautiful shadow cast over her body and face. It also foreshadows her part as the femme fatale in this film, which contributes a lot to the film noir style. The attraction between Kathie and Jeff is visible (especially with Jeff's voice over giving you that notion that he was quite smitten with her). Mitchum has the strange but beautiful stance and he coyly flirts with her. You can tell she feels it to but tries to down play the attraction.
  6. The opening scene is definitely different from the typical film noir. The agricultural shots gave the scene the realism, which you can tell was influenced by German Expression style. It reminded me of the travel reels snippets, which sort of undermines the darker undertones of film noir. The voice over does set up the fate of what the spectator will see. This realism documentary shot does show that directors were beginning to explore other magnitudes of film noir.
  7. This sequence from "The Killers" is by far one of the most richest scenes in film noir. I have never seen this movie, but I loved the way it transitions in form. You can definitely see the influence of the German Expression film style. I definitely think of Lang's "M" with the close-up shots which mainly this scene was shot. The beginning of this scene is filmed in true noir style. You have the sketchy men in bulky coats and fedoras delivering their lines in a straightforward kind of way. But what makes it more realistic is the softness of the camera giving the spectator that view realistic view as if they were right inside the diner. Once Henry runs to tell the Swede about the men, the shot frame becomes something different, which was a nice transition. The director uses the shadows/darkness to make that transition. I absolutely loved the Lang style of silhouettes in the dialgoue with Henry and the Swede. There is nothing, but complete darkness. The Swede's face is completely shadowed in darkness as Henry talks to him. I actually like the dark and light comparison between the characters through the aesthetics of this scene. It's definitely a play on their characters and visual decision of the director.
  8. Gilda is definitely a femme fatale. She is gorgeous, charming and knows how to use her personality to get what she wants. Her dancing wasn't quite as good, but its her charm that captures the audience. Music and film noir is quite the strange mix, but in reality works well together. The musical sequence gives the femme fatale the chance to shine and show her true colors. In this case, Gilda's character is presented that chance to do just that. Gilda playfully takes her glove off and lets her hair down. Her behavior was if she unleashed herself to the world. She is unhinged and out of control. The femme fatale is not really given that chance to do this. They are usually reserved and stone-faced. With Gilda it's quite the opposite of that. The song choice is like a charm on the audience and us as a spectator. "Blame it on Mame" is definitely a coy way of showing who Gilda really is. There is one line from the beginning "up to all her tricks" which basically lays it all out. I think music definitely contributes a lot to film noir. It can be used as a device to foreshadow a lot of things.
  9. heytherelaur

    Who's Afraid of Virginia Woolf? (1966)

    I totally agree. This movie is so amazing. I think is one of Elizabeth Taylor and Richard Burton's best film to date. There is such beautiful essence of this movie through the brutal relationship between their characters. I definitely love the outside shots of this movie. It definitely gives it a realness and depth.
  10. "Mildred Pierce" is probably one the most interesting film in the film noir. It's quite unqiue because not only is it a film noir, but a melodrama as well. I think it's the only film from 1945 in the film noir genre that embody that. The first conversation between Veda and Mildred are at a distance, where Mildred is looking at Veda horizontally. The frame of their bodies definitely signifies whose in control. It is almost the roles are reversal: Mildred is the child and Veda is the parent. You can definitely see from their body language that there is truly no respect between the characters. In the second frame where Mildred is still at a distance, but circles around Veda as she still sitting on the couch. Mildred is carefully circles around her. Once Veda admits she is not pregnant, we definitely see the roles reversed. Mildred is in front of Veda, but not too close. At this point, Mildred finally comes to realization of who Veda truly is. Even with the scene at the staircase, Mildred is confident to get in front of Veda. The roles change again once Veda slaps Mildred and she is taken aback by it. I don't this scene is heavyly film noir influnenced. There is some shots of Mildred where her face is slightly shadow and the music definitely sets the tone to it.
  11. The beginning scene of "Ministry of Fear" gives a different tone than "M". Lang uses the children playing to give this playful, but chilling tone. The in depth focus slowly build the tension and had us wondering what was going to happen next. In "Ministry of Fear" Lang decided to focus on the clock as it slowly moved back, but also build up tension, but in a different way. It was more of anxious tone as we did not know what was going to happen next. Lang did a great job to have the Milland sitting in the dark, barely seeing his face as he watches the clock moving back and forth slowly. His anxiey became our anxiety. I know I felt tense watching that clock as well. The shadows and somber music set the film noir atmosphere. In "M" he slowly build the atmosphere as in "Ministry" he sort of thrusts us into the scene where you know that Milland is waiting to get out of the aslyum. I have never seen this film and I can't wait to watch it.
  12. The films that were shown on June 5 are up on the TCM on demand until June 12.
  13. Marlowe is definitely agreesive which he its right perfectly in the film noir genre. He is a perfect example of the hard boiled dectective movies. He speaks his mind and he goes straight to the point which makes him a new kind of detective. In that following scene, he is agreesive, but he does it a very coy way. This type of detective does plays very well in the film noir genre for the simple fact they want answers. They want it quickly and will do anything to solve this case. I think "Murder, My Sweet" is one of the best detective films in this genre. It does contribute to the genre with him trying to figure out who this girl is and why is she is in his office.
  14. I absolutely love this movie. The introduction of Waldo is amazing! The screen shots of his apartment while he is talking gives the spectator an insight of Waldo as a character. You see lavish and intricate items that gives examples of his personality. We get that notion right away that Waldo is not just an ordinary person. It gives the spectator something to look forward to. I think Waldo's speech along contributes to the noir film style. It's dreary and you can hear it in his voice his reflecting upon what has happen.
  15. The use of the POV in the beginning scene was very successful. POV shots puts the spectator right at the scene of the action. The tension was definitely there because you feel as if you are the character and you're only motive at that moment is to escape as quickly and not to get caught by the police. I feel the dialogue also helped create more tension to the scene because you hear his thoughts and what he is feeling at the moment. I loved the dialogue between him and the driver. The tension builds up because you don't know what can happen. His is asking so many questions and you can see Bogart's nervousness as he looks back to see if any police are his tail. It defintiely does play an important contribution to the film noir style with its cinematography and how it hides his face.

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