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The Working Dead

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About The Working Dead

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    Advanced Member
  • Birthday 02/11/1978

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    http://WorkingDeadProductions.com

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    Male
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    North Hollywood

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  1. I don't ever like to tell people their opinions are wrong, but, well, you're wrong. That zither music is amazingly appropriate for the soundtrack. It sounds a bit off-putting at first, but watch it again. It fits perfectly. It's mournful when it needs to be, jaunty when it needs to be, and adds a certain level of irony to every scene. Also, Welles was only an actor for hire, though he wrote some of his own dialogue. Carol Reed/Graham Greene are the true architects of the film. They had a great collaboration, and their three films are all definite must-sees. The Fallen Idol and Our Man In
  2. According to our good Professor, this message board isn't going to be deleted, it'll just stay on the TCM boards. There's nothing that says we can't stick around here. I know I for one am not quite done with this topic. I plan on continuing my own Summer of Darkness right up to the official end of summer in September. I'll probably slow down a bit on how many noir films I watch and how often I watch them, but I plan on writing something at least a couple times a week over at my blog. I'd love to keep as much of this community together as possible.
  3. This was a great film, and a great find this summer, one of the reasons I'm so glad I signed up for this course(and one of the reasons I'm so sad to not have TCM anymore). In my write-up of this for my blog I focused a lot on the lighting, which is hard to avoid, because it's so striking in this film. I love how this room(which the film returns to many times) is lit. Ostensibly there's only one light source actually in the room, but look at the corners and edges of the room. There's just enough light to make out the shape and contours of the space, but everything in between is darkness, sa
  4. Well, the film isn't actually a parody, and it's not actually meant to be funny. The parodic elements aren't very evident in the opening scene, but there are plenty of things that happen later that twist what you expect to happen in a noir film.
  5. I love the Narrow Margin. Definitely one of the best films I've been introduced to this summer. I think the comments about this film being a reaction to the genre are correct, although I'll have to try to avoid spoilers by explaining why. First shot, pre-credits, of that train coming right for us. It's an aggressive, assaultive opening, but then the next(where the post-title credits begin) is of a train moving slowly, things calm down. The train is moving right to left, into the past, as if the film, having shocked us with sound and fury, is rewinding and resetting. The train stops moving
  6. It's interesting to see what they Hays Code was interested in keeping off of screens, and how that attitude lessened over the years. Clearly they are no longer very interested in making sure films don't depict detailed descriptions of crimes being planned and carried out. Just a few years earlier this film would not have been able to get made. At least not in the form we see now. I watched this through a second time with attention to how long specific shots lasted, and while there isn't technically a pattern, it has a very musical quality. That is to say, each edit could be seen as a beat,
  7. One of my favorite noirs is actually British. Time Without Pity, starring Michael Redgrave as an alcoholic recently released from a sanitarium, who learns his son is about to be executed for murder. He has 24 hour to prove his son's innocence before the boy is executed. It's fantastic(and I think I might have recommended it in another thread on here already). I watched a couple movies today in a DVD set of British noirs. Women of Twilight and The Slasher(original title Cosh Boy). I wouldn't recommend seeking them out, though. They weren't bad, but calling them noir was incredibly misleadin
  8. My write up of the film for my blog touched on this same thing. Ernie's wife was incredibly sympathetic to me. Ernie is obviously not the same man she fell in love with(although the film expresses this mainly through her materialistic desires), and as we see through the movie, he's a seething ball of rage who is very eager to use his fists on the people who might not deserve it. I completely understand why she would fall for a man who showed her a little more romance and excitement, even someone as shady as that jewel thief. It also had me viewing the end of the film with a bit of a 'Oh, I'm s
  9. I really enjoyed this movie, and found it fun to write about over on my blog. I'll try to stick to just what we see here, though, and not get too far into plot specifics. This fits into my continuing idea of noir being a sort of body-horror film, wherein the body is the film itself. What I mean by that is that in a lot of postwar films noir, the noir elements are not immediately apparent. A lot of films start off in domestic situations, either as comedies or as dramas. And then as the film continues the noir elements become more pronounced, mutating the look and feel of the picture. Ano
  10. In these terms I meant 'weakness' to imply a moral weakness, not a mental one. She seems confident and competent throughout the clip, but the implication seems to be that her greed or self-centered attitude(almost forcing a car off the road because she doesn't want to go to a party, deciding to run away with money that isn't hers) will prove to be the cause of all the troubles in the film.
  11. Great ideas, and yes, it helps. I've been carrying a notebook with me while I'm out and about(like any good gumshoe), and I had just started to formulate these ideas while on the bus home from work. I literally came in, checked my messages, and then posted on here in my excitement to hear the thoughts of others. I'm compiling a lot of notes. I'll probably be spending some time formulating a more cohesive post in the future.
  12. Ack, I'm quoting myself, how gauche. But, as the song says, "quote yourself if no one else will." I've thought of a few things that I could add to my original comment. I told you I'll be coming back to this idea. First off, there's another example in my theory of pre-war noir concerning foreign threats to the status quo while post-war noir contains threats from within. It's a bit of a sideways example, though, so bear with me. The Dick Powell noir Cornered, at first glance, seems like an outlier in postwar noir, something akin to The Third Man, where we follow a hero as he navigates t
  13. Strangely, I hadn't noticed Alan/Jane's car lights blinking, but sure enough, there it is. Good catch. I'm with you on everything happening because of Jane, whether she intended it or not. I'm just worried the rest of the film will paint her as the weak one in the relationship, when in the beginning at least she seems to have quite a bit of agency.
  14. I'll argue against that sentiment, actually. I think films always reflect the social/cultural/political landscape of their times. Even if, ESPECIALLY if, they don't show the world as it actually was. Films often show an idealized version of the world, they show us how we want to view ourselves. The preponderance of lighthearted fare involving wealthy characters makes sense precisely because most of the people in the audience did not fit that description. It's like in Sullivan's Travels; no one wants to go to the movies to be reminded of how miserable they are, they want an escape. I think
  15. Cool scene, I got a real No Country For Old Men vibe from it. Without TCM I guess I'll be watching this one via one of those less-than-perfect public domain copies. Another dark road, another car driving down it. The crookedness of the road implies the general crookedness of the characters, which I believe extends to the 'innocent' husband and wife. It's telling that they're introduced bickering, that the wife is the instigator in everything; she tries to run the car off the road, she decides to take the money, she drives the getaway car. I'm interested to see where her character goes, be
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