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dripley

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About dripley

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  1. I'll just say it...I'm not a boxing fan. Having grown up minutes from Colma, CA where boxers punched each other out alongside the headstones of the dead, you'd think I could appreciate the sport. I can remember uncles, aunts, and even my mother talking about going to "the fights." They were an important form on entertainment in an era when most entertainment was still live. They were a place like Shakespeare's theater where all the classes mixed and mingled. Maybe that's the problem with people today, we don't get out and rub elbows with one another - we lack empathy for one another. Yikes, ta
  2. ...and the door closes. Everyone's life just changed; something new (and noir) is about to begin. Let's see ... Douglas obviously dislikes Heflin and is perturbed that he has to help him out. Douglas wants to avoid Heflin seeing "his wife," but acquiesces. Stanwyck doesn't recognize Heflin, but when she does is happy to see him. Heflin can't get used to Douglas calling Stanwyk "his wife." Sam: "Aren't you glad now, you missed that circus train?" Martha: "I don't know." What?! AYK - right in front of your bird? As far as the Midwestern generic city goes, the office re
  3. I'm a big fan of Lizabeth ("The Threat") Scott and this is, dare I say, her best film. She usually plays a meely-mouthed, skinny dame singing in a nightclub while being threatened by some tough guy ala Dead Reckoning. In Too Late for Tears she takes things into her own hands. As the couple drives towards dinner, SHE decides to go home because SHE doesn't like being "patronized" by the wealthy wife of a friend. SHE almost runs them off the road and SHE decides to keep them money thrown in the back seat by speeding off. Right away the femme fatale is calling the shots and it will continue th
  4. Hitchcock learned a lot from his readings of Shakespeare. His use of comic relief is notable in all his films - but he usually takes it a step further. With Hitchcock we are often presented with lighthearted scenes that we know are going to betray us as viewers. We watch them with a sense of dread, wearing smiles on our faces. We know that, excuse my pun, the other shoe is going to drop, as it does in Strangers on a Train. We get the 1951 view of travel, which was exciting and fun and done with style. You didn't show up to the ticket counter in your sweats or yoga pants. The two ch
  5. "I want to report a murder." "Whose murder?" "Mine." I mean it can't get much more noir than that. Talk about the absurd. Even if you haven't ever seen this movie before you can almost predict O'Brien is going to same something that ridiculous. I love that the Captain shuffles through some papers and then says "Tell them we found Frank Bigelow," like he knows the story already. Everybody just accepts this crazy premise. The maze of corridors sets up a caged in feeling -- there is no escaping the absurdity of Bigelow's claim. He's gonna die and we all know it.
  6. Viewers get a claustrophobic feeling right away as they are being whisked down a road in the back of some kind of vehicle with a siren . . . an ambulance, a police car, prison van? The tiny caged window leads to the feeling of being closed in. I feel sorry for the woman in the close up - she is obviously so afraid and she's wearing two-tone saddle shoes, a bit young for a woman's prison. And what's up with the rest? Going to prison with style..furs, suits, stockings, hats, and purses. "Take a last look" shot through a gate where the world is just passing them by definitely gives the vi
  7. Interesting that the big, bad city has now become the open, eerie country. Both Kiss Me Deadly and The Hitch-Hiker present visions of the lone wolf who lurks through the night waiting for victims. Isolation seems like a good theme for this one. How are these guys going to escape ... and would you just blindly follow orders? We all think we would do something heroic, but don't be too sure.
  8. A super cool car, Nat King Cole, and Cloris Leachman? Pretty great opening. Interesting that so many say they wouldn't pick up Leachman...A woman alone at night running down a highway barefoot? I don't know just seems something anybody would do. I don't think Beeker would have picked her up if he hadn't gone off the road trying to avoid her. How about terror for a theme? Pretty much starts out like some kind of updated Poe story - a (wo)manhunt for an escapee from the local insane asylum who appears terrified, but of what? who? What are they doing up there at that asylum? Does Dr.
  9. Love the way this is shot. It's like a horror film - the shadowy canted gothic doorway where you can only see feet. Is that a corpse, a killer, a spy? Whoever it is can't be all bad, I mean cats are a discriminating judge of character. And we're right! Look at that quirky little smirk on Orson Welles. More Poe-like shots - running footsteps down a slick cobblestone street, leading to a hidden stairwell circling under the depths of Vienna. Not sure what's going to happen. Joseph Cotten doesn't seem worried, Orson Welles looks like he's having fun, but the scenery, lighting, and music say o
  10. Whoa! Cue the orchestra, it's Lana. Hmmm...entrances, well Garfield makes a few entrances. We see him enter the California sunshine as "Man Wanted." He is a cheerful traveler on the road of life without any worries "plenty of time for that." When he enters the diner - ta, DAH - he enters the world of noir complete with venetian blind shadows and subtle chiaroscuro lighting. BAM! a lipstick rolls into a box of light, and the camera pans towards its source and then climbs up Lana Turner's legs while the orchestra, in a minor key, develops into a symphony of lust - you can just see
  11. Wait, when is The Mask of Dimitrios playing? OMG! thank goodness it's at night, I won't be playing hooky again I've never seen this movie, but since The Maltese Falcon is one of my favorites and the premise of Dimitirios is basically the same as replayed in this scene, I can't wait! When comparing with The Maltese Falcon, you have the whole Levant, historical mystery, other worldly, forbidden knowledge angle. AND you get Sidney Greenstreet and Peter Lorre facing each other once again, well what more could you ask for? Peter Lorre still comes off as a simpering whiner and Greenstre
  12. Like any good night creature, the femme fatale can't exist in the direct sunlight. As Robert Mitchum says, she has to come "in out of the sun." She crosses the threshold from the street to the bar to become a dark shadow and then a soft-lit woman in white who sits down under a bare bulb that casts harsh shadows on her skin, first from her hat and then when she lights her cigarette. Interesting choice of the white dress. Virginal, clean, innocent - Jane Greer is anything but, which Mitchum will find out. Mitchum will become the infected by the femme fatale and display some of the typic
  13. Don't get confused by the plot - there isn't one and it's not supposed to make sense. Bogart's Marlowe and Spade may seem the same as viewed through the opening clip of The Big Sleep, hard boiled detectives with a sharp wit. But Chandler's Marlowe is more ruthless than Hammett's Sam Spade. Perhaps this is because Hammett himself was a Pinkerton - so he makes the character a bit more real (and likable) - and Spade does have an ethical code. He may not like his partner, and messes around with his wife, but he will find his killer. Marlowe doesn't like anybody and often is motivated by wh
  14. The opening credits are shot over a landscape that is harsh and foreboding, even lunar-like with its rocky crags and desert wasteland. When the voice over narration starts, it sets up a newsreel feel for a clip that takes place over the Imperial Valley of CA. The narrator uses words like "army" and "empire" to set up the medium shot of bracero workers shot through double chain-link with their anxious looks--all with the approval of the United States Department of Justice. It seems that viewers are in for anything but justice - setting up the noir qualities of this film.
  15. Interesting question - shifting from realism to formalism. It makes me look at the scene in a new and different way. At first, I thought the scene moved from the diner to a cheap back lot scene as Phil Brown jumps over the fences separating the small backyards of the neighborhood. Now, however, I see the scene move from realism in the diner to slowly morph into formalism as Brown travels through a set filled with chiaroscuro lighting and finally ends up a shadow standing over Burt Lancaster's body (formalism). Geez, I love noir.
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