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Everything posted by FGE413

  1. It's still noir despite the daylight b/c of clouds, shadow, and a lot use of overhangs/alleys that block out the sunlight. We learn that Mitchum's character is lonely - and likely willing to compromise himself for a chance at companionship. She's mysterious and aloof, but with just a tinge of enticement to hook him in.
  2. To any other MST3K fans on this board, did the opening scene with the hamburger joint guy remind you a lot of I Accuse My Parents? Old guy says "Yeah, you can move in with me and work for me even though we just met." I never realized that's what I Accuse My Parents was ripping off (in that scene, anyway). As for noir elements, the main character is desperate and down on his luck, so it's likely he'll be taken advantage of by a femme fatale (Turner's entrance is very over the top sultry - everything about her is designed to get attention).
  3. He's a college-educated (not as common for working class men in that era) smart-**** detective. He thinks fast on his feet, but his mouth gets him into trouble sometimes. It's contribution to the genre is rendering plot almost secondary to ambience and character.
  4. Definitely see the German expressionist influence here with shadows, shadows everywhere. Most prominent in Swede's room when the man's shadow looms on the wall and Swede's face can't be seen. Also, please please please tell me we'll be watching Dead Men Don't Wear Plaid at the end of all this.
  5. I noticed that by 40s standards, it was a bit racy since she was starting to strip and would've continued stripping had she not been hustled away. I haven't seen the film, but this definitely seems to tie in with classic noir themes like lust and jealousy. I don't know a heterosexual male who wouldn't be attracted to Rita Hayworth watching that clip. And Johnny's just watching a bunch of other guys go nuts over her.
  6. It's like M, except when we see that there's a "crazy" person about, we realize that he's our protagonist (and the viewer doesn't realize what exactly the man has done, unlike in M, where we know he's a child murderer). The clock sets atmosphere in that it has sort of a soothing, hypnotizing effect. It gives them impression of a normal, everyday setting when in fact it's an insane asylum. It's an important contribution to film noir style in that it turns the viewers' expectation on their heads when it comes to who they're rooting for as a protagonist. Most heroes aren't so "weak" as
  7. Marlowe seems new because he views himself as a working guy - being a detective is his job. It's not an intellectual exercise like Sherlock Holmes. He's a tradesman who believes in carrying out his trade to the best of his abilities. What this brings to the noir genre...I don't think we've done a clip yet with a traditional femme fatale. Bette Davis did kill a man in the opening of The Letter, but this is more what I think of for a femme fatale - someone who the detective is attracted to but isn't sure he can trust and isn't sure if she's the murderer.
  8. The masks on the wall hint to the obsession with faces, and what face we present to the world vs. how we are on the inside (I won't spoil the ending for those who haven't seen it, but that theme is certainly relevant throughout the film). Lydecker's immediately introduced as an obsessive weirdo. His narration about Laura indicates an obsessive mind. But the strangest part is him receiving a detective while nude in his bathtub. I realize it's a different era, but I can't possibly imagine any scenario in which I would ever receive a cop conducting a homicide investigation while bathing.
  9. I liked the shot from the barrel more than the POV. I didn't really have a problem with the POV shot, the shot from the barrel as he was escaping was more of a "wow" feeling for me, though. It is kind of brave to have a star like Bogart and not show his face in the opening, though. I think it's contribution to noir is an interesting variation of the man looking for escape. In movies like Double Indemnity, a man looks to escape from a dull, stifling life to one of riches and excitement. Here, the man literally needs to escape from jail. Thought that was an interesting twist.
  10. Yeah, I was surprised. In noir, I don't expect something bad to happen THAT quickly. And Wyler does a good job of starting with a seemingly peaceful tropical scene, then interrupting it with Davis shooting a man in the back several times (I love how she informs the man to tell the police it was an "accident") It's an interesting addition to noir because it shows the underbelly of seemingly privileged people. I haven't seen the film, but Davis clearly seems well off if there are that many servants on the premises. It's an isolated paradise type setting that evil still creeps into.
  11. I think the fact that the workers are covered in grime gives it a darker touch. Train travel in film often appears glamorous (and does in this scene at the very end), but this shows us that there's a lot of grunt work that goes into it. I haven't seen the film yet, but it leads me to believe that they're establishing a dark, gritty world for the noir hero/antihero to aspire to escape from.
  12. As was said earlier, the word I'd use is vulnerable...the overwhelming feeling I have is one of the vulnerability of children. Elsie seems so small compared to everything around her, plus she nearly gets hit by a car crossing the street. I'm only an uncle, but it still gave me an intense feeling of dread how vulnerable all of our children are (I imagine for parents watching this film, that feeling's magnified a thousandfold). In terms of style, the shadows everywhere really seem to be a hallmark of noir and are so here, even before the final shot of Peter Lorre's shadow looming over the
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