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Mardigus

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About Mardigus

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  1. Certainly all things looks bright on film, it's a movie right? The directors job is to tell a story of whatever angle he's going for and if it calls for happy so be it. For Depression era musicals or any type of this era I expect an escape from the real world, beautiful people, great opulence, stuff that would **** off the poor of whoever cannot afford to go to the picture shows Pre-code was great. Sex sold, scum and villainy ruled. When the code was enforced the taboo subjects were assumed by tricky scripting which is no fun because I can't take the hint and need to have it explained to me
  2. I think so. When Chaplin does these foolish routines it being so natural is what makes it funny - I'm going to walk now...boom.. Crazy.
  3. I loved the set and using the telestrator made me feel like the game was at halftime..
  4. Wile E. Coyote got pretty messed up but he's a cartoon also.
  5. First off let me say Lana Turner is a smoking hot babe. She oozes sex in her entrance wearing her little outfit teasing dude when she "accidentally" drops her lipstick. Garfield enters as a hitchhiker, dropped off by who we know as the D.A.. Garfield is dressed decently so he's not a hobo but a man in transition to whatever he makes of himself. I see traditional Venetian blinds shadows typical of noir, the femme fa-tale background music when Turner appears in her closeup, the supposition of dude going to the gas chamber when dame seduces him and into noir zone.
  6. Lorre enters the scene tired from the days happenings when he finds his room ransacked. Greenstreet enters gat in hand as foreboding music plays. Lorre is startled but not shocked at first and as the scene progresses his amusement shows by smoking and lounging on the bed. Greenstreet is portrayed as the muscle. The camera pans from the bottom to up close when revealing his true nature. I always liked black and white lighting. It is more prominent than color and makes noir shading feel a mysterious dark way. The funky lamp shadows are intriguing in this scene. Comparing this with The Maltese Falcon obviously both men are in the film. Greenstreet plays the interested party in that movie as well while Lorre is a bumbling fool trying to get answers his way. Their acting styles are somewhat the same, generally when studios make 50 pictures a year actors act and it's up to directors and producers to edit and make the changes to make the audience feel the differences.
  7. I think the opening describes Marlowe as a detective, college graduate who had a decent job before and got fired, a typical Bogart character. Bogey seems so one dimensional that he can be Sam Spade or even Rick Blaine, the bar owner from Casablanca. But that's my opinion. The dialogue with the girl, he was checking her out as much as she was trying to play him and only when the butler returned is when Marlowe pooh poohed her. The contribution to noir style? We start with POV at the doorbell introducing Marlowe, the somewhat foreboding background music gave some mystery but during the part in the greenhouse where the old man talks about the orchids. It was a bitter cynical take on his world. No tricks of light and shadows. For me this is the point where noir starts to take form. Everything builds from here.
  8. When the music started I felt like Border Incident was going to be a hit 'em hard crime story then when it switched to voice over narration film left me perplexed for a moment. Did I just spend 50 cents on the wrong movie? The realistic documentary style made me wonder what was going on and as the film progressed I began to sense a little despair - migrant workers vying for position to work in the fields. The mood dimmed even farther by the mentioning of the criminal element, profiting from both sides of the border by exploitation of the workers - or that is what the narration was leading me to believe. I think this story contributed to noir style by adding another dimension to the genre. Bits of styles taken from other films and combining them to creating a still fairly newly labeled type of produced film.
  9. In the beginning of the scene I see the entrance to the diner with shadows casting a mood of dread already. A mystery starts. Who is Swede? Something happening in the kitchen as dialoge directs situation towards it. Then as the action moves to Swede's room a shift in reality begins going through the alley hedges and fences where I find a more unreal setting is transformed with crazy shadows, a man lying on the bed face darkened as the man enters the room with his own shadow imposing over Swede on the wall. Forms of formalist German Expressionism I think are found here and contributes to the noir style.
  10. Let me say Rita Hayworth was pretty hot back in the day. That was the first thing I noticed, flinging her hair around got me interested very quickly. The musical number brought out the scamp in her, did you see the guys drooling over who's going to unzip her dress? The men with who had dates didn't give much of a fight to stop them either. Lust, jealousy were predominant in the scene. I haven't seen the movie but Glenn Ford looked pretty riled up as Hayworth provocativeness seemed to do him in. How the music influenced the scene for me was obvious. It was basically a strip tease melody, inciting the whole audience while Ford could only watch, seething to get that slap in the end.
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