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robertocasti

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About robertocasti

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  • Birthday 02/11/1967

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  1. Ciao. -- What did you notice about Rita Hayworth's performance when you were watching this scene? She's deliberately singin' and dancing, sending a message to someone. The words of the songs, her tone and poses are like a public statement. The use of the spot light while she enters in the scene and then her close-ups with a strong blurried light describe well who she is and wants to be. -- What are some of the deeper layers of meaning that are contained in this film noir musical sequence? The strong sensuality of the character - voice and body - and her desire to be independent. -- In what ways do you think music influenced and contributed to the development of film noir? Music is an essential partner of noir movies. It can be a lead, a warning, a complementary part or substitute of the background sound. Roberto
  2. Ciao. -- How do you feel the noir influence operates in this scene from Mildred Pierce? The background music has a dramatic tone that describes well the increasing tension between the characters. -- How does Curtiz arrange these two actresses to heighten the tension of the scene? Pay attention to how they move and how they are framed in the scene, especially the use of close-ups. The actresses start to move from the right (normal) to the left (drama) of the scene and every time the tension rises the camera alternately close-up to the actresses with a spot of light over their faces (top left to right direction). At the end of the scene the background music dramatically rises, covering all the sound. -- In what ways can this scene from Mildred Pierce be considered as an important contribution to the film noir style? This scene shows two female characters, one acting as the bad, the other like the good. Roberto
  3. Ciao. -- How would you compare the opening of M to the opening of Ministry of Fear? Both movies let us in to the story with a series of clues until we get the most significant one: in M is the police poster bulletin about a series of child murders; in Ministry of Fear is the sign outside the building, Lembridge Asylum. They also have in common the using of a clear sound effect, not disturbed by the environment. -- Describe in your own words how Fritz Lang uses the clock in this scene as a major element to set mood and atmosphere. In the very first part of the opening we can clearly see the clock, but we hear the background music following its ticking with the drums/kettledrums. Once we get into the story, after the titles, the music fades out and the ticking of the pendulum fades in. We are close to 6, a man is waiting in a room, close to a luggage. Is it finally time to leave? -- In what ways can this opening scene from Ministry of Fear be considered as an important contribution to the film noir style? There's a use of dramatic tone of the light, music and sound. It's like dark and light, bad and good. Roberto
  4. Ciao, - Do you notice anything unusual about how this private detective is acting? He's quite aggressive and makes phisical contact with the people (the elevator boy, the woman in his office) - Describe some of the things Marlowe says or does that make him a new kind of private detective? He lets the lady enter into his office and then locks the door with the key without being seen. Now he can study the woman. While he's asking her about typing he takes her hand and notices her manicure. Then he starts asking questions unmasking the lady, piece by piece. - Why do you think this kind of private detective fits so well within the film noir context? Marlowe is the archetypal of the "noir" detective: he's smart, a bit macho. The local authorities bear him. He can do a dirty job, getting phisically violent, even with the women. - In what ways can this scene from Murder, My Sweet be considered as an important contribution to the film noir style? The scene has all the element of a private detective story in a noir context: the detective's office, the detective, a good looking woman in trouble. Greetings, Rob
  5. Ciao. -- What examples do you see that fit with Nino Frank's contention that Laura is a "charming character study of furnishings and faces?" While the running shot is focusing on the collection of valuable objects (a showcase of "glasses", a pendulum-clock) we can also glimpse a terrace outside the room, with a skyline of buildings in the background. We are in a penthouse. The camera keeps going and other furnitures are shown, everything is furnished in very good taste. Then we see Dana Andrews, his body and expression are in contrast with the scene. He's smoking a cigarette, glued on his mouth (quite typical for a detective), he looks curious, exploring the room while he waits for someone. He surely doesn't belong to that world. I attached an editing of the scene as it could be in a storyboard. -- What do you think about how Preminger introduces the character of Waldo Lydecker in this scene? Preminger immediately outlines the traits of Waldo: good taste, rich (the environment), big ego (a series of aligned towels with his initial letters in a big size), eccentric (he invites McPherson to talk in his bathroom) and he's a powerful man, used to have everything in control. -- In what ways can the opening of Laura be considered as an important contribution to the film noir style? We can see the classic noir opening story: a not sohpisticated detective goes to his/her rich client house to solve a case or getting hired. Regards, Rob
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