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RickyODelgado

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About RickyODelgado

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    Member
  • Birthday 06/14/1993

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  • Gender
    Male
  • Location
    New York, NY
  1. I loved the beginning of the scene, as the city appears completely abandoned except for the cops and the man they're looking for. I think the Asphalt Jungle refers to the city the film takes place in, almost like New York is known as the concrete jungle. As I mentioned, the image of a lone man walking through a deserted city as the police hunt him down is one I really liked and was my favorite aspect of the film. Dix seems unfazed by the police, and he also seems to have connections, as the restaurant owner hides his gun for him without even having to utter a word.
  2. I actually felt like the way the opening scene is shot isn't very noir-like. There's plenty of light in this scene, and I could've been easily fooled that this was a regular film. But then of course, the dead body is found and we're right back in the world of noir. I'm still not sure if I understand the Salvation Army's significance in the film, but it's obviously too early to tell. As previously mentioned, murder and the man-on-the-run aspects of noir are alive and well in 1918. The possible framing of an innocent man appears to be here as well.
  3. This film's opening title threw me off because of it's pace. The title jumps out at you, and the music that accompanies it gives the sense that the action will begin immediately, but then everything slows down literally as the train pulls into the station. The only evidence I could find that supports Foster Hirsch's assessment is the description of the woman the two men are going to pick up. It feels like a summary of most femme fatale characters I've seen in noir films. So, in that sense Foster Hirsch may be correct, but I obviously have to see the rest of the film.
  4. Time and timing appear to be crucial in this film, as the heist that will take place apparently needs to happen within a small window of time. The music is the most noir aspect I saw, as it builds tension and implies upcoming drama. Crime is a big aspect of noir, so the heist film fits right in. Noir sometimes likes to toy with the idea of the perfect crime, and seeing as how this heist needs to happen in a certain amount of times, things have to go perfect.
  5. This might be one of the only few scenes we've had so far where everything takes place in one setting, with very little action and pure acting leading the way. I haven't seen the film before, so I can't be certain, but I have an idea of how these characters relate. It seems to me that Sam and Walter both pursued Martha when they were younger, with Walter ultimately winning out. How this happened, however, is another thing. My guess would be that Sam actually left, making Martha's decision simpler, but Martha not immediately recognizing him casts doubt on that idea. I can definitely see a rivalry between Sam and Walter, however. I also noticed that others pointed out Sam's drinking while on the job, which I also noticed as strange. I think crime of passion and the femme fatale are two noir themes that are definitely in play for the rest of this film. While not in the lineup, and not exactly midwestern, I immediately thought of Ace in the Hole when I read Griel Marcus' observation. Ace in the Hole is one of my very favorite films, taking place in New Mexico, and also starring Kirk Douglas. It's a terrific film which I would recommend.
  6. While each of these car-on-the-road opening scenes are unique in their own way, this one really stood out in my eyes. While the danger seems to come from the outside in those prior scenes, I think the danger is already in the car when the film begins, and it's Jane. Once she discovers money in the bag, her expression changes and she begins to recklessly drive down the road trying to escape. The question of why these things were happening to innocent people during this era is a good one. The war had just ended four years prior to this film's release, and the cold war was underway. I think the traumatization of previous events had made American society more cynical, and that may be why this type of storyline came to be. I think Jane taking control in the car sets her up as a femme fatale-type character, overcoming the perception of male dominance. Apart from what already appears to be a captivating storyline, I think it's too early for me to see why Eddie Muller considers this the best unknown Noir of this era.
  7. Hitchcock's rhythm is much more relaxed, and the pace of the film is considerably slower than Kiss Me Deadly, or The Hitch-Hiker from last week. Early on in those films, danger is openly established, while here it's more concealed. I like that we're put in the same position as Bruno and Guy, not meeting each respective character until they meet each other. The element of the chance meeting is textbook Noir, and it's also featured here. Alfred Hitchcock is my favorite director of all-time, so I would be inclined to say he's a special case, as I regard him to be in a class of his own. He doesn't fit those two groups of directors as detailed in the Daily Dose, and his specialty was suspense, so I guess that does set him apart.
  8. The biggest thing I take away from this scene is that it shows us something that not many Noir films show us, and that's women in prison. When I think of femme fatales, some of them may end up getting arrested (Virginia Mayo in White Heat), but we never actually see it. Now, it doesn't seem like this woman is a femme fatale, but they can be so deceiving that I can't say for sure. With the opening shots being inside the police van, where the audience sees as much light as the prisoners, we're placed right in there with them.
  9. The aspect of a hitch-hiker on a desolate road at night immediately resembles yesterday's Daily Dose with Kiss Me Deadly. This time, however, it's a man who is picked up by two other men. He also appears to be stuck on the side of the road, as opposed to Christina yesterday, who was on the run. We also quickly (it appears) establish that there's a villain in the scene, as opposed to Kiss Me Deadly, where that remains unclear through the opening scene. I think the one idea that I take from this scene and yesterday's is that picking up hitchhikers is just not a smart thing to do, at least it was that way during the Noir era. The scene begins by only showing the hitchhiker's feet, and when he's in the car, the shadows cover his face in the back seat. This is obviously done to enforce the feeling of mystery that surrounds this character.
  10. This was a terrific opening scene, as the first shot immediately creates tension, mystery, and uncertainty. As Karl H writes, this scene's themes include a damsel in distress, the reluctant hero, and danger lurking. I had never seen such an erotic scene in film noir either, as the scene in which the credits roll and Christina's moans are loudly played. I always knew noir to be of clever double entendres, but straight forward like this. I think the idea of lying for someone you don't entirely know, who will probably, eventually bring you trouble is another theme that film noir has. In this scene, we learn that Christina has apparently escaped from a mental institution, and is being hunted down. We also learn that Mike is willing to lie for a stranger. I'm not necessarily sure if this is a contribution to noir, but the film's opening credits were definitely something I had not seen before in noir. This style of credits was made famous by Star Wars, but is this possibly the first film to use it? If so, that's pretty cool.
  11. Harry Lime's "entrance" was actually kinda funny to me. First of all, that jokester-like smile on his face was comical, and the music, which didn't seem to be appropriate for the scene. All this goes on while a woman shouts in a foreign language. It really seems to be disorganized, but is meant to be that way. As for the lighting, I loved the shot of Lime's shadow running away from Joseph Cotten's character, as well as the show of the entrance to the sewers. The desolation of the town throughout the whole scene works to show the war-time situation in Vienna. I think the musical number was a contribution to noir, because it demonstrated that the tense, usual music that was paired with these scenes wasn't necessary, as this particular scene works well with it's own unique noir music.
  12. John Garfield's entrance portrays him as someone without much meaning in life. He's a drifter, bouncing from place to place, but hopeful that his meaning will come soon ("maybe my future starts right now"), Lana Turner's entrance, on the other hand is quite different. She enters the scene like an angel, appearing in all white. I really like how the camera introduces her, opting to begin at her feet and moving up her legs. John Garfield's character is clearly blown away by her beauty, but tries to play it cool. You can't help but to immediately label her a femme fatale, as she appears to be utilizing her sex appeal early on, especially as she walks away and shuts the door. Of course you've got your shadows in this scene, as noir usually does. I think this was most prominent in Turner's entrance as she stands in the doorway. The film also features John Garfield providing a voiceover, implying a flashback, which is a noir staple. This is one of my favorite films noir, and I can't wait to watch it again on Friday.
  13. The last time I saw these two, they were after the Falcon, but this time they initially appear to be opposites. I thought Sydney Greenstreet's entrance was much more dramatic as he walks out of the bathroom gun in hand. Peter Lorre's character seems more likable, primarily because he's the victim in this scene. I find it interesting how he just wants to go to sleep, even with Greenstreet still there and armed. As the scene continues, these two once again have a bond, this time it's the titular character Dimitrios that binds them. The camera has Lorre's back and Greenstreet from the front with gun in hand. In The Maltese Falcon there are some scenes with various characters, like the scene in Spade's living room which features shots of the entire cast, unlike this scene which features camera shots for each individual character.
  14. Without having the benefits of night for dark lighting, this scene utilizes Robert Mitchum's voiceover to emphasize a noir style. Mitchum's character is in Mexico in search of this woman, but we don't know why, at least in this scene. He appears to be a private investigator, which is a staple of the noir genre. I assume that he'll get into a shady ordeal, because that's what happens in this genre. I thought the cafe's lighting was also interesting, and created artificial dark lighting, as Kathie walked in. This scene tells us that Jeff has been in Mexico for over a week now, presumably hunting down Kathie. It also gives her an uneasy introduction where you almost feel you know she's not going to be a positive for Jeff. As she walks away, you also begin to sense Jeff's attraction for her. I think it's a pretty safe bet to say Jeff will be going to Pablo's sooner rather than later.
  15. I'm not sure if this was the first noir to be filmed documentary-style, but if so, it was innovative. It would eventually lead to The Naked City, one of the more famous films noir of all time. I'm not sure if the voiceover setup was necessary, but the backstory sure helps. As the scene ends, you can sense the desperation of the braceros from the shots of them standing behind the gate trying to gain entry into the States. My main thought as the video came to an end was that there was desperate times call for desperate measures, and I feel like that's where the noir elements will come into the story. I've never seen this film, but I'm certainly intrigued.
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