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cinephage

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About cinephage

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  1. I like how the objects are used in this introduction... Masks and Mirrors, precious objects, statues and, of course, a portrait... We see Mc Pherson examine inquisitively Lydecker's belongings, but there's also some kind of envy. He seems admirative of the latter's good taste and rich furnishings. In a way, his opening the glass showcase to take Lydecker's glass vial into his hands could be a warning of things to come, like an introduction to the ulterior stakes of the movie. In this light, maybe Lydecker's most beautiful piece of art could be Laura herself, in which case, McPherson mi
  2. The movie insists on Ann's discoveries of her husband's secret life, but, as the movie proceeds, she leaves many hints at what led to their distancing from one another... At various occasions, she explains how she tried to get him to try to make a living out of his painting, to which he responded very negatively. His doubts and self-consciousness certainly made him a difficult person to live with. I wouldn't say the blame is on either of them, but instead we are led to see how many disputes led to a situation where there was no need for arguments anymore... Edit : Sorry, Working Dead, but it
  3. Some additional context to this opening sequence can be found in the TCM page of the movie, which may interest those who loved it : Many thanks to Andrea Passafiume for this precious additional information on how this sequence was filmed.
  4. Being familiar with La bete humaine, I'd never really considered it as a film noir reference (but changing perspective on certain movies is one of the reasons I'm following this course, so I guess this starts here). This sequence reminds me a lot of earlier sequences from Abel Gance's La roue (but Gance was a silent picture, so there's a big difference between the two films). https://www.youtube.com/watch?v=kwGRg4Lw8aM I would say La bete humaine has touches of noir in the following aspects : - Inherited from La roue, the theme of fate, here symbolized by the railroad is a theme one usu
  5. I love how the children warn us (and themselves) against the passing of time, as they sing, in a few minutes, he'll be there. "Just you wait, it won't be long. The man in black will soon be here." But at the same time, their own game reproduces the movement of a clock, thus illustrating visually the passage of time, suggesting how the time when "he will be there" is coming right up, in a kind of self-fulfilling prophecy... This first shot almost begins a countdown in the viewer's minds, which makes all the following come quite naturally, as it was announced, and the viewer then expects it, i
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