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About pattyloof

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  1. I took this course as research for a neo-noir/hardboiled detective novel I planned to write. Well, it's written and came out in November, to pretty good reviews, I think.
  2. The first thing I noticed was the music: beautiful but it made me a bit on edge for some reason. You knew right away something alarming was going to happen. I love how you're literally dropped into the movie, and how the lovers are lit up by the headlight. Their faces looked furtive to me, immediately making me worry that someone might have seen something they shouldn't. The dialogue confirmed that these people were hiding a plan to escape someone they were both frightened of. The dialogue also showed the woman close to panic, and you began to wonder how reliable she was, whether she would be
  3. It seemed to me that this scene at least was well named "The Asphalt Jungle". You never see a tree or plant anywhere, just barren streets, menacing cars, and thugs dressed as police. What a bleak scene.
  4. This is a really good question. I want to say that in a patriarchy, the Dream has always been for men, with women used as an accessory to the Dream: sweethearts, wives, mothers, daughters ... simply ornaments, toys, rewards, and tools, with little true agency as humans in their own right. This was before my time, but it certainly seems that this was the worldview of the 50's that women later fought against. But as someone else has said, women had to be willing participants for the Dream to work, and that was the sin of the femme fatale: she rebelled against being the pliable toy ornament,
  5. This scene was sad and brutal, from the beating and humiliation he takes at the opening to the verbal beating from his wife. I imagine this being the male American nightmare. At the end it's unclear what way the story will take. I did find his reaction interesting -- the anti-hero of the 40's would have verbally sparred with her or smacked her around, but this man simply stands there and takes the abuse, a bit as he seemed to do in the fight scene. Not that I condone domestic violence, but the contrast seems to mark a change in attitude. He doesn't react at all, even verbally, as if he has
  6. Not to mention more recent movies such as Nightcrawler (2014), which is about as dark as you'd ever want, and the rise of such TV shows such as Hannibal. I think that the stereotypical noir with the private eye and the femme fatale has been flanderized in many people's eyes, but there's a definite demand for neo-noir, with the uncertain, seemingly out of control world we still live in. I agree, this course has been excellent, and the wealth of knowledge here on the boards only makes it better.
  7. Three words: Kiss Me Deadly. No way would that movie (and in particular, that ending!) have happened prior to Hiroshima. Pure paranoia: it could even be in a locker room (or a home) near you!! It's really interesting to see the depiction of nuclear material in the movie and the way its depiction has changed over the decades.
  8. I liked the fact that you never saw the hitchhiker's face until well into the scene. That made him seem even scarier. When he did show his face, though, it was almost a letdown. Maybe they should have picked a scarier-looking guy, I almost laughed when I saw this ordinary looking fellow, even with a gun. But I did feel bad for the two fellows who were just trying to help him. It's interesting how much film has changed from then to today. Today's action heroes would have made mincemeat of the guy and sent him off crying.
  9. Maybe it shows my generation, but that's the first thing I thought of him, especially with how brusque he was. But when she put her hand in his and leaned on his shoulder the look on her face said I'm willing to take the chance to get away. I'm really looking forward to seeing this movie. (if the film was made two decades later, we would be suspicious that Meeker will also take advantage of Leachman for some unsavory purpose.
  10. A woman running from an asylum, and the guy covers for her! This is going to be a good one.
  11. In regards to the entrances: John Garfield enters as a happy-go-lucky, somewhat disheveled traveler, in a car but quickly outside in the sun, which seems to be his natural habitat. Lana Turner, on the other hand, has a highly staged entry, inappropriately dressed for a diner (especially if she lives/works there) with a completely white skin-baring outfit, turban and heels. I was reminded of an artificial flower, posed for everyone to look at, but hiding its true nature.
  12. The thing that's also clear is that she wants to be: the blatant posing in front of him, applying makeup as if he's not there, her whole aura is "here I am, on display for you, what's it going to be?". You can see in his face that he's making a decision as to what to do next. When he stands there, lipstick in hand, he's giving her an invitation and a challenge. Now she has to decide what to do. When she goes to him to get her lipstick, instead of walking away (a refusal to play the game) or waiting for him to bring it to her (indicating she feels on top here), she indicates she's the most
  13. I wanted to say thanks for the Place and Peterson article, I really enjoyed it. I'm writing a neo-noir and I sent a copy to my concept artist to let her see what I'm looking for in the cover. Very helpful!
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