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CarolinaNoir

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Everything posted by CarolinaNoir

  1. One of my favorite films, if for no other reason than Eva Gardner, who's from my adopted state of NC. The diner scene is one of my favorites for many of the reasons which have already been addressed in this thread. However, I love the sardonic dialogue as Conrad and McGraw discuss the availability of the diner menu items. The actors deliver their lines threateningly and you expect a violent eruption from them at any moment. At the same time, there is a dark comedy (excellent timing and delivery by both) to it's one of the many little details that makes this scene for me.
  2. When the dance first begins you're expecting (Hoping) for a classic burlesque dance. But Hayworth is either intoxicated or acting intoxicated and the dance seems contrived. The entire scene is a performance not for the audience (they're just lucky enough to witness it), but for Glenn Ford she wants his attention and she wants a reaction; which she gets. I think the point of this scene is to throw the sexuality of Rita Hayworth in Glenn Ford's face. She saying "See what you've thrown away, there are a lot of men who are more than happy to have me!" She wanted a reaction from Glenn Ford,
  3. I like the Dick Powell noir cannon as a body of work, and I have to admit I like his turn as Marlow in Murder My Sweet. I think he reaches his apex as a noir leading man in this weeks Cornered however.
  4. Finally got through all the DVR recordings from Friday 12 June and I'm glad I made that upgrade to my system. The four films I hadn't seen before were: Danger Signal - An ok film with some elements of noir, but if the ending was in happier I would have vomited. Noir-lite at best. Johnny Angel - Now we're getting somewhere. More noir than Danger Signal with enough darkness and a pretty good ending. Raft is pretty good though stiff, and I think Trevor was under used. The Gangster - Absolutely loved this film. Noir from the start to the superb ending! Tomorrow is Another D
  5. It's funny you ask that, as it alludes to one of my previous posts on todays films. The tease was a coffee table book in my high school library which featured b/w photos of classic stars. The cover photo was Veronica Lake and I was smitten. The film that hooked me was The Maltese Falcon. The first time I saw it was with my Grandma.
  6. I can't wait to get home from work this evening and check out the DVR. Only 4 of the films aren't in my personal collection (Danger Signal, Johnny Angel and The Gangster) so looking forward to seeing those. As great as Gun Crazy, Murder My Sweet, Detour and Nightmare Ally are, today's highlight for me is The Glass Key. All four of the films I mentioned before are far and away better examples of noir; in fact, they're quintessential to the cycle. However, Veronica Lake is partially responsible for my love of noir and classic films as a whole, so I am decidedly bias with her films.
  7. Does anyone ever really understand the mother-daughter dynamic? Three daughters and a sister and I still don't lol. Mildred Pierce is a very good film which I do like and it. I think it certainly belongs in the noir cycle, but this scene, to me, is more melodrama than noir. Curtiz directs the scene smoothly, slowly bringing the actresses closer as the debate heats up, until grappling the tension erupts in violence.
  8. I see the use of the clocks pendulum as a multifaceted device in this opening. Along with the brilliant lighting and the metronome like tick-tock it establishes a foreboding mood. It also establishes, appropriately enough, time. Both the past, we learn that Ray Milland's character has been here awhile (and we begin to ask ourselves why?), the present, he is prepared and quite anxious to depart (again, why?) and the future (where is he going?) I think the obvious comparison with "M" is the use of a time piece in both openings. In "M" and here in MoF I think he uses clocks to establis
  9. In the scene we see the quintessential Private Dick's office. The mise en scene will be come cliche with noir and Detective films to this day. We also get to enjoy some good hard boiled slang, delivered with panache by Powell, whose gives Marlow some comic undertones which I really enjoy. Murder My Sweet is one of my all time favorite noir films. It rates pretty high in many of the elements we've discussed. However, the ending is just a bit to happy for me.
  10. The mise en scene of the masks, shown to the viewer while the camera pans right symbolize something or someone is hiding or covering up; is balanced when the camera pans left to show Waldo's nudity synbolizing in the viewers mind openess, nothing to hide correct. It's a great opening that leads us to belive WL is covering something up, but then disarms us of that suspicion.
  11. One common theme mentioned in the lecture as well as amongst our comments here in this thread seems to be the feeling of disillusionment which occurred socially in both Germany and France following WWI and here in the US during and following WWII and then again in the US during and following Vietnam. All of these war/post-war periods led to a noir movement. I think the classic period is the most well known and loved because it was a perfect storm of forces (writers, directors, actors, technology and business model) come together. Prior to the classic period some of these elements were
  12. What a great idea for SOTM! Even my daughters, who are both in there 20's, were excited when I told them. The pin-up girl subculture is something they enjoy. And my grandfather, were he still with us, would be thrilled to see his foot locker fav Jane Russell. lol!
  13. Sadly at work then taking a friend fishing so my noir Friday will not begin until tomorrow lol. I hope you all enjoy these wonderful films.
  14. Unlike the previous three beginings, here the director for for goes subtlety and throws us into the deep-end of the pool, splash prison break. Besides the innovative use of the POV style, we also see some superb framing. Ultimately this beginings works best as Bogart rolls down the hill because we the viewer immediately identify with him. It would have been cooler had the voice not been Bogie's until the big reveal. I've always enjoyed this film, but it's noir-lite to me.
  15. A good post, and I agree it does have some noirness to it. Like one-star thai food is hot. But in my book it's not there yet.
  16. The third Daily Dose in a row which begins with normal people doing normal things. Yesterday's opening scene rushed us headlong into danger, today's lulls us in and then bang, well actually six bangs lol. At least one person mentioned how Betty Davis keeps her gun hand extended, as if it isn't really her hand at all. That's just great acting/direction that in the viewers mind may foreshadow a psychological problem. A common noir theme. We also have a woman doing the killing, I'm not certain thats something that was common in pre-noir cinema.
  17. I agree also. I look at this and the M clip as proto-noir. I think the beginning of the form can be seen here in two forms. First the documentary like feel of the train ride and the bleakness of the industrial world.
  18. This beautifully shot opening draws the viewer in with excitement, like the ubiquitous chase scene at the opening of a Bond film, Renoir exciting use of a live action first person and point-of -view shots demand the viewers attention. I am very surprised they were able to capture many of those shots without the benefit of a hand held camera. The first noir element I see is the documentary style of the opening and may have inspired Fritz Lang's opening of Human Desire. The second is the cold industrialization of the scene. No other people are scene save our two engineers. The shots are
  19. The laundress telling her friend, if we can here them they're alive", then not hearing any singing had me anticipating something horrible.
  20. The first word that comes to mind is order. Throughout his opening Fritz Lang works to establish, in the viewer’s mind, a sense of order. The order is twisted however to impress upon the audience that this is a darker world than the one which he inhabits. The opening shot of the children is a high-angle shot giving the viewer an adult perspective of the children. The children are arranged in a circle, a symbol of order, and they are playing a game, similar to ring-around-the rosy. But the nursery rhyme is twisted and dark. The camera pans down slightly then up, a child’s point of view to
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