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About dmojohnson92

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  1. The "live" boxing matching seems much more Raging Bull (1980) than Night and the City (1950), right? I also like how many times we see boxing within this clip. As msbella pointed out, we see the original "live" match, the TV version, the slow-motion version, and the version in which John Payne dukes it out, and loses, to his wife, Peggie Castle. I'm actually kind of surprised how he can keep on taking the same beating over and over and over and over again. Not only is Payne's character stuck in the past, he's reliving it, which seems to happen quite frequently assuming that Castle's charac
  2. Hmm, I'm not sure what to think of this clip. There's some great acting by all three (I'd certainly stay just for Kirk Douglas and Barbara Stanwyck), the script seems to be well-written, and the staging of the scene seems to almost be like a dance or an entanglement, with this kind of rotation of the characters (except when Stanwyck runs to Van Heflin). But, I'm not necessarily convinced this is noir yet. It seems to be more like a love triangle with some darker undertones (gambling, drinking, and so forth). I'm sure it would be helpful to know a little bit more background on these three chara
  3. I'm hoping to see the film tonight at 7 o'clock. The last time I saw the film was 2012 in my film noir class in college, so it'll be exciting to see it again on the big screen. I'm not expecting to see too many other people there, though. Occasionally my theatre has a classic cinema series but people really only come out for the bigger titles (like Gone with the Wind and The Wizard of Oz). The last film in the most recent series, Tootise, had about four people in the audience, including myself!
  4. This was a cool little opening to a film I hadn't ever heard of. Two of my favorite sections are the car chase--which was surprisingly well done, and it was nice to see the man in the back seat, defenseless, with the woman taking charge--and when Alan opens the bag to find the money, and both he and Jane greedily smirk at the possibilities this has in store for them (though, they're probably thinking of what they could use the money for rather than those who will undoubtedly chase after them to get the money back). I'm glad to see that this forgotten film noir resurfaced. I'm sad that I mi
  5. For me, Strangers on a Train is top-tier Hitchcock. While we don't get something as exasperating or dramatic in this opening scene, we do get, as Dr. Edwards points out, a criss-crossing pattern that not only let's us know that these two characters will eventually meet, but that we should also eventually compare them. Just from his editing choices, we'll simply have to acknowledge that Farley Granger and Robert Walker's characters will intersect. Going all the way back to The Lady Vanishes, trains serve as an important symbol of an incoming force--characters, situations, etc.--that the pro
  6. I watched Kiss Me Deadly for the first time in a few years, and it absolutely blew me away (I was lukewarm to it on my first watch). The opening, of course, is spectacular and then we enter into a sadistic, brutal, and ambitious film that only accelerates into a bombastic finale. I honestly can't think of a more merciless film from this period. Everything is so sharp and dynamic, including Ernest Laszlo's cinematography. I mean, c'mon, how great is this shot? The whole film can practically be summed up in this singular shot. A Dutch angle, chiaroscuro, the blinds casting that wickedly
  7. What I like about the opening of D.O.A., as I did with Caged, is that the camera forces us to become the protagonist by shooting from that particular point of view. By forcing us to become participants, we--the audience members--are automatically placed into the scene. I think that's why we don't see too many, if any, establishing shots in films noir. These films are for the common, everyday people. This isn't Gone with the Wind, or An American in Paris, or Ben-Hur. These films, no matter how bleak they are, are easy to relate to. Not so much as we all encounter such danger and intrigue in our
  8. Two things really stuck out at me when watching this opening scene: restriction and, oddly enough, fashion. It's very easy to see how restricting the opening scene is for the characters, as well as the audience. We know just about as much as Eleanor Parker. We barely even get a window to peer out of, and that window is obscured by bars, too, so we're all kinds of out of the loop. We only realize what's happening once the door opens and we see Parker in chains and her fellow inmates filing out. Now, when I say fashion, I do mean it. The women heading into prison seem very well dressed (is one o
  9. I hadn't ever heard of The Hitch-Hiker before, but I'm certainly interested in seeing the rest of the film after this intense opening. We can tell that it has been meticulously choreographed so that each action happens at a precise, and thus effective, moment. Each exact moment leads to another exact moment, but it never feels staged; there is a natural feeling to it, and that plays extremely well into how the scene is lit. When Emmett pulls out his gun and then leans in to the light, after sitting back in the shadows, I literally said, "Wow, that's cool." We know nothing about this charac
  10. Kiss Me Deadly is one of the coolest films noir in the catalogue, and this sequence is one of the coolest openings in all of cinema (at least the bit of cinema I've seen). I mean, the whole glowing briefcase in films like Pulp Fiction is directly descended from Aldrich's Kiss Me Deadly, which I find pretty cool. Like all good films noir, we get a sharp chiaroscuro: the black of night vs. the headlights of various cars. We do get some interesting camera angles, though nothing that we haven't seen before. Perhaps the most differentiated part of this film is, as others have noted, the credit
  11. I saw The Third Man for the first time back in January. After hearing such good things about it, I thought that I'd check it out. While I'm not over the moon about it like some people are, I do think it's quite good and I think Carol Reed did a really good job in his direction of the film (and, to explain a bit more, I hadn't liked Welles when I watched Citizen Kane back in high school and so I kind of went into The Third Man with a dislike for Welles and anything he's in; since January, I've rewatched Citizen Kane and quite like it, so maybe I need a rewatching of The Third Man, too). Any
  12. I've always heard how great this film is, but I've never gotten around to seeing it. I'm borrowing it from the library this weekend, though, and I'm excited to see what happens to these two characters. This is quite a moment for both Frank and Cora; meetings between major characters usually are. Frank seems unassuming but confident in his beliefs and ideals (I definitely share his itch in travelling; I have a feeling, though, that Cora will scratch that itch for him and he'll stay put for a little while). I don't know where Frank came from or where he's going, and that doesn't seem to matt
  13. The Mask of Dimitrios is new to me, but I like how this scene instantly illustrates its noir aspects: the chiaroscuro, the kind of wide and consuming pans of the camera, the sparring of dialogue. This is some good stuff right here. What I love most about this scene is the way in which space is presented. Now, I don't know anything about the story, but gather that Lorre and Greenstreet's characters know each other to a certain degree, with Greenstreet's character having the upper-hand here. There always seems to be a gulf of space between them, especially at the beginning of the scene. Besi
  14. Out of the Past may just be my favorite film noir. While I don't have a particular favorite scene, this one certainly stands out. Since I'm sure some people haven't seen this film, I think it's important to note that this is during an extended flashback section of the film--the past in which Jeff Markham/Bailey is trying to escape from. The flashback, as we've learned, occurs quite a bit in films noir, but attempting to run from your past is an important aspect to the style as well. And, unfortunately, Jeff isn't able to outrun his past (so, yes, Kathie does come back into his life). So, w
  15. Hayworth was a trained dancer and starred with dancing legends Fred Astaire and Gene Kelly in a few films. I didn't realize this until I watched one of the bonus features on the Gilda DVD. It shows just how much of an actress is when she performs poorly; it's always more difficult to do/act/sing/dance poorly if you're actually good at doing/acting/singing/dancing.
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