ValentineXavier
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Posts posted by ValentineXavier
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It's hardly my judgment, it's what I have been taught since grade school. The primary colors, also called subtractive colors, are sometimes cited as cyan, magenta, and yellow. I believe that formulation is used in printing. I believe there are other possible combinations.
Of course our senses are fallible. There are, i.e., several varieties of colorblindness. The primary colors are based on normal, human vision. No doubt animals, such as bees and snakes, that see portions of the spectrum we cannot, would need a different set of colors.
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I've been on vacation for a couple of weeks, and can't believe how many pages of film noir posts, here and elsewhere, I have to catch up on!
Finance, I don't think anyone answered your query below:
> {quote:title=finance wrote:}{quote}
> Maybe I'm thick, but I don't have the slightest idea what "That's mighty white of you" means.
Basically, it means you are claiming privilege over me, as if I were black, and you are white. That can mean you are denying me a simple request, or you are being condescendingly, grudgingly, slightly helpful. But, either way, the person said to be "mighty white" is behaving in a prejudicial manner. So, it is an insult. Although its meaning is based on racist attitudes, I don't consider it that racist, because it is pointing out the white racist sort of attitude, even if the attitude is aimed at someone who is white.
Okay, I consider Fritz Lang's *M* to be the first film noir. I don't think the last one has been made yet! So, you can see I have a broad definition of what is noir. I think *They Drive By Night* is a noir.
I tend to think of Ella Raines as a film noir actress, even though she was probably in more westerns than noirs.
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Well, *Yojimbo* is a fine film. I think it is the more popular because the plot is simpler, it is more violent, and it was made into a spaghetti western.
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> {quote:title=finance wrote:}{quote}
> I had noticed that Emma Thompson resembles Hilary Clinton, so does Marilyn Quayle resemble Hilary Clinton?
To me, neither resembles Hillary, in the slightest.
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> {quote:title=LoveFilmNoir wrote:}{quote}
> I like that I don't know... ... what exactly the "luminous toxin" is that'll eventually kill Frank Bigelow in D.O.A.
That was Thallium. As I recall, there was a Russian assassinated with it in the last year or two. I think he was in England when he died.
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> {quote:title=jamesjazzguitar wrote:}{quote}
> I do remember TCM have a special persentation of the 'event' assocaited with the two releases of The Big Sleep and they did have interviews with movie professers that explained the differences (often scene by scene), and reasons behind them etc...
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> But they didn't do any editing. Both versions were official Warner Hawks releases for the reasons I gave (again based on my memory, but hey maybe I'm remembering it the way I want to!).
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> Let me know what you find.
As a big fan of *The Big Sleep*, I can say your memory is quite accurate. Somewhere, I have the original 1944 version, which I taped from the TCM airing you refer to. It was interesting, but I prefer the 1946 version. Still, I do wish TCM would show the original 1944 version again.
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I'm not that impressed by *Mafioso*, but the rest are quite good.
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I liked *Cornered* quite a bit. I don't think I had ever seen it. I'd call it clearly noir. The protagonist was cynical, disaffected, and stubborn. I liked how he was affected by frequent headaches/flashbacks. The cast was quite good, and their positions ambiguous and unclear, at least for a while. I liked the ending too, when he realizes that there are bigger problems than his own, and he decides to face the authorities and be the fall guy.
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*O, Lucky Man*
*Juliet of the Spirits*
*Orpheus*
*The Treasure of the Sierra Madre*
*Touch of Evil*
*The Exterminating Angel*
*Ugetsu*
*Ikiru*
*Fireworks*
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> {quote:title=MyFavoriteFilms wrote:}{quote}
> Meanwhile, the black-and-white cinematography in Mitchum's other recent TCM showing, TWO FOR THE SEESAW, makes an otherwise snappy story a bit dull. Since Mitchum and costar MacLaine's characters are supposed to have this bright, unexpected energetic romance, it follows that Technicolor might've been the better choice. Robert Wise's direction is great as always, and the character-driven piece, based on a stage play, gives us a lot to mull over.
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I think that film had to be in B&W. The romance may be unexpected, but it is constantly hot and cold, each unsure of and not trusting the other. VERY moody. It is set in the beat scene of NYC. Technicolor would have been totally out of place. I'm a Mitchum fan, and had never seen it. I did like it, but I wish he had had the guts to cut the ties to Tess, in the end. I think the reason it wasn't written that way is that, in that era, they were just considered to be irreconcilable opposites, a Bohemian artist, and a lawyer, and both from different social strata.
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Go away on vacation for a couple of weeks, and a six page thread on my favorite genre beaks out...
What I like about film noir is its punch in the gut realism, its earthiness. Even though it is generally in contrasty black and white, it shows just how ambiguous and gray the world really is. Its characters may be amoral, immoral, or down right evil, but still the tales are moral ones.
I guess I never saw a noir I didn't like. Many of my favorites have been mentioned, but a some haven't. So, here's sort of a scattershot list -
*The Devil Thumbs a Ride*, staring Lawrence Tierney. Sort of a cross between *Detour* and *Born To Kill*. Not quite as good as those, but still gripping.
Robert Mitchum is, IMO, king of noir. Two of my favorite noirs are westerns, starring him - *Pursued*, and *Blood on the Moon*.
I like neonoirs. I think *Blood Simple* and *Memento* are two of the best.
I like Japanese noir - Kurosawa's *Stray Dog* being a good example, as are many of the films of Seijun Suzuki from the 60s, like *Branded to Kill*.
A tremendously good Japanese neonoir is Takeshi Kitano's *Fireworks*, made in 1997. I read somewhere that Quentin Tarantino said he would give his left nut to have made that film. I think it's worth a lot more than that. It's available on DVD.
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He was also in *Kiss Me Deadly*. And, like several veteran Welles actors, he was in a couple of eps of Perry Mason.
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The IMDb says that the OAR of *The Devil's Bride* is 1.66:1. If TCM lists it as letterboxed, then it should have thin black bars on the top and bottom in SD. In HD, it should be a bit wider than a 1.33:1 film, with black bars on the sides.
Sadly, it isn't unusual for 4x3 TV shows to be cropped top and bottom, and shown in 16x9. More often, they are stretched in such a way that the center has little stretching, but the edges have more. I call that the fun house mirror effect. Another way of fitting 4x3 to a 16x9 screen is to zoom a bit, but leave thin black bars on both sides.
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I think Mifune was a fine actor, and with a broader range than he is normally given credit for. But, I can't think of a single role where he didn't have a strong and forceful personality. My personal favorite Kurosawa/Mifune film is *Sanjuro*. I love the way the students follow him around like a flock of chicks following a mother hen. I love his unease with the "lady," for whom he acts as a step ladder. I love his laziness, and insightfulness. I like the sensitivity and humor of the film.
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The film is not without flaws, but I think it is interesting, unusual in many ways, and quite enjoyable. The cast is stunning. I had seen it on TCM before, and watched it again. Unfortunately, there were a few digital glitches, probably not from TCM, but from Comcast.
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> {quote:title=FredCDobbs wrote:}{quote}
>...and I dont think scientists knew yet that all the basic colors we see could be made up from the three primary colors of red, green, and blue.
Red, green and blue are the additive colors of light, while red, yellow, and blue are the primary colors, from which all colors can be mixed, using paint/pigments.
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*Herbie Meets Christine*
They say opposites attract, but who knew Herbie had a thing for bad girls? Can a happy-go-lucky Bug find true love with a furious Fury? Will she possess him with evil? Or, will he make her all sweetness and light? Will they settle down in a nice two-car garage in the suburbs?
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> {quote:title=C.Bogle wrote:}{quote}
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> *The Magnificent Ampersands*
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Now that is funny!
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> {quote:title=HarryLong wrote:}{quote}
> *Your joke was as plain as the nose on my face*
> Pinnochio jokes always are...
Well, I was actually thinking of a different protrusion of Pinocchio's that might give his girl splinters, in a most unfortunate place...
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*MR. MOTO*
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I don't see the resemblance between Charlie and Marilyn, but it strikes me that Marilyn resembles Emma Thompson.
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Sprocket Man, I find your analysis spot-on. If I ever watch the film again, I'll keep it in mind.
Fred, I live in Michigan, but I was born, and partly raised in Oklahoma. Both sides of my family came from Mississippi, with a few CSA Generals among my ancestors. I was raised to think of myself as a Southerner, but fortunately was not taught to be a Stars-and-Bars waving racist. Although I don't care for GWTW, I don't in the least bit mean to try to dissuade its many fans from loving it.
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> {quote:title=fxreyman wrote:}{quote}
> I suppose since you are one of those who thinks that Gone With the Wind is the most over-rated film of all time, must never have seen Titanic (1997) surely does not hold a candle to Gone With the Wind.
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> IMHO, Titanic IS the most over rated film of all time.
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> GWTW? No way.
*Titanic* is my pick for second most over-rated film of all time...
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> {quote:title=mrsl wrote:}{quote}
> Thank you for finally answering my question about the significance. I'm afraid several people misunderstood my post, which often happens to me. Dustin was quite brilliant in the way he handled his role, but my doubt about him was that he was such a dork that a mature, and beautiful woman like Anne Bancroft would hardly consider him as material for an affair.
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I think she liked younger guys, for their 'staying power,' and thought Dustin would be easy to dominate, and discard, when she was tired of him. Someone less of a dork might have been a problem, in some ways.
Gone With Wind
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> {quote:title=C.Bogle wrote:}{quote}
> I believe Scarlett was an early example of a CAP-Confederate American Princess.
Not so sure the "early" is accurate, but apart from that, you nailed it - she was selfish, fickle, stuck-up, and stupid.