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About alenoir

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  1. I really like the feeling of going full circle with this particular daily dose. A lot of the early films had that same sense of mystery, danger and urgency, and also dialogue that was quick and revealed little and left a lot of questions. It's also nice to see the progression from small casts and venues to the bigger, badder city or town (in this case, Los Angeles). Speaking of, I love films set in LA. I think that's the quintessential noir city, even more than the unnamed midwest town. It has that glamour and tempo that I associate so dearly with noir. It has that unabashed sense of danger an
  2. I really enjoyed the composition of the scene and the high and constant tense contrast between Captain in his position of power and prisoner in his position of submission. It's a really interesting scene, too, because typically in noir, the shady characters are the criminals. They're the ones ruling the underworld and comitting all kinds of atrocities for their benefit. Of course, we don't know enough from this clip to know if perhaps the Captain is bending the law for the greater good, but I don't think that'll be the case after seeing the response of fellow officers from outside of the room
  3. There have been a lot of Daily Doses that have made me feel like I need to watch the entire film immediately after finishing the clips. Desperate has created the most powerful response yet. I really enjoyed the play of light and shadow accompanied by the musical score. It's the music that really highlights the darkest parts of this scene, and it comes to fit so neatly with what's going on, helping the audience delve deeper into this underworld. Poor Steve that almost got away with innocence, if it wasn't for his bride. I wonder what the connection between all parties is, especially between the
  4. There are echoes of Detour in this film as an accidental death occurs but the person nearest to it does the unthinkable, they run away perhaps thinking or assuming their guilt. The movie doesn't really feel like noir, not even when things get juicy. The setting, the build up and even the music start to feel more like traditional dramas. Some elements, of course, resonate such as the trains and the murder-mystery. Yet, I would have to watch it all to really get a full sense of its noirness. Even the lighting is off: it's so clear and fresh and bright. How is this noir? Also, did anyone noti
  5. -- Do you see evidence, even in the film's opening scenes, for Foster Hirsch's assessment that the dialogue in this film sounds like a "parody of the hard-boiled school" or that "noir conventions are being burlesqued"? It does sound like a parody. Though it feels like a natural progression of conversation, the things that are being said and what's being spent time on is silly. The classic noir PI doesn't care about cigarettes, but these guys do. They don't care about the damme, they just wan't to get things done, but these guys do. The aloofness and hardness of the classic is not there, th
  6. Discuss the role of time and timing in this scene.As the Daily Dose says, it really is all about timing. Unlike other films, this one keeps things low key. Yes, the atmosphere has certain tension, but it's mostly because we don't really know what's happening yet know something crazy will. The cold and calculated approach of Foster paints a dry picture of what's to come. Time is slow, time is key and time is of the essence. What are the film noir elements (style or substance) that you notice in the opening of this film?Part of what's been discussed before: the realist/docu style. The music as
  7. Very powerful first scene. Long, winding hallways underscored by the music and the back of a man, walking non-stop towards his destination. -- Compare the opening of this film with the other three Daily Doses this week? Do you see parallels in the opening scenes of these films? There is a parallel as was said in this last dose about loss of freedom. But also, a parallel in the way that each scene opens. It's a look to the distance and to the isolation of the characters. The contrast is clear when it comes to gender, as the men, even those who claim to have been "murdered" are more in c
  8. I would argue, Noirnado, that perhaps there's something darker to Mike than whiteknighting. Because of what he says, "I'll throw you off the cliff" and his behavior, cold and detached, with no lingering sights or loving gestures, I wonder if he's doing her a favor for other reasons. As our protagonist, it's unlikely that he will do her real harm, but a key feature of these noir characters, especially the PIs, is that they straddle good and bad. Maybe he's just curious about her situation in a more morbid fashion, maybe he cares so little that she could be with or without him and he wouldn't ba
  9. Not only do I want to 'bump' your work to top of thread but I want to take you. I think seeing these stills really helps me understand the noir visual conventions. They'll be easier to recognize as I go along! I really enjoyed this week's lecture and am about to delve into the readings. The studio system is a very interesting beast, and I am really interested in reading more about the audience perspective. So this was the kind of entertainment people went to see weekly, how did that really work? Did people have the same loyalty to studios as they had for genres or actors? Was there the sam
  10. What makes Harry Lime's (Orson Welles) "entrance" in this film so effective?It's very unexpected, veiled in mystery, but, above all, humorous. His smile says it all. Yes, he's the ghost, the stalker, he's the one that is in the know and has control. The film doesn't start out with a serious air of anything. For the first few seconds, it's just a man walking at night, which can mean a lot of things, but not always danger/mystery. However, as things progress and he becomes aware of someone watching him and then is chasing down Harry only for him to disappear, the tension rises.
  11. It's definitely important to note that Lorre is definitely not as afraid as he may initially have seen and that he holds more power over Greenstreet by virtue of knowing more about Demetrius than he. That is, of course, why they're where they are at the beginning of the film. Though not much is revealed about what ties these two men together, it's clear that Lorre knows more and Greenstreet is absolutely desperate to find out. It'll be very interesting to see how the power struggle develops. Will Lorre end up with the upper hand? Or will Greenstreet?
  12. Very much enjoyed the clip. There is stark contrast between the daylight scene and usual older film noirs where the mystery and the drama take black in dark street corners or abandoned homes. Here, the mystery is exposed yet covered up. We know little of the two characters outside of what can be expected of the genre: femme fatale and PI, both strong, smart and uncompromising. The music as well as the aerial shots really build a sense of realism. Everything looks and feels neat, including the street vendor that is quickly shushed and provides little actual conflict or trouble to the charac
  13. -- How does this opening sequence establish Humphrey Bogart as Philip Marlowe? What do we learn about Marlowe in these first few moments of the film? Though it's slower-paced than other films, we learn quite a bit about the situation in just a few minutes. First off, we learn of Marlowe that he's a secure, knowledageble, witty and independent man. He's honest and not afraid to be who he really is. Additionally, we learn that there's something amiss (as in any noir film) that will certainly involve money and women. The greenhouse is probably a headsup of things getting hot pretty quickly,
  14. -- What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? Unlike other films, this sequence does not set a mood of danger or mystery right off the bat. In fact, if I didn't know it was a fictional film, I very much would've thought it a documentary. What it sets up, rather than danger, is a more subtle air of conflict because while it starts off on a high note: "look at all these wonderful farms and fields..." continues to a mid-note: "look at all these people that we legally allow to work..." it ends on so
  15. -- What did you notice about Rita Hayworth's performance when you were watching this scene? Off the bat, it's her clunkiness in dancing. Though I don't know what the proper style was in that era, it's clear that her movements are somewhat forced or difficult. It's more apparent that she's drunk towards the end of the scene, and that perhaps explains her behavior, including the striptease and the request for someone to pull her zipper. The scene shows her lack of care, a rowdyness, that is quite possibly due to her husband's overbearingness? He's clearly unhappy with her and set to control
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