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bahhood

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Everything posted by bahhood

  1. The opening credits, with its thematic music, harsh and pounding and scenes of inhospitable terrain and title card with jagged edged lettering, are noir all the way. However, as soon as the credits are over the music changes. It is softer and more melodic, subtle under the familiar voice over narration recognizable to audiences. It is a voice of authority and believability. The aerial shots of long straight canals and retention ponds glistening from the sun, intersecting at right angles fade into farm land and rows of trees and crops dotted with people working the harvest. These are mostly sho
  2. The opening of the scene in the dinner is full of light but the scene changes to dark and shadows when Nick goes to warn the Swede. When Nick starts off to warn the Swede, he encounters a series of barriers of white picket fences, he has to leap over them going further into the dark night. When he arrives Nick is still in the light but the Swede is in shadows so that you cannot see his face. He lies in bed looking as if he had no head. A perfect homage to the German expressionism films of the Teens and 20’s. In this example of film noir everything is reversed we know who is killed, who kil
  3. Rita’s performance was designed to entice the crowd and licit a response from the Glen Ford character. I disagree that the character was drunk I think she was acting drunk to make her appear more available to the crowd. I base this on the interchange with Ford’s character where she isn’t slurring her words. The character’s choice of song conveys women are the downfall of men. They are trouble. Women use their “wilds” to seduce and destroy (as in the Frisco Quake). Music is and effective conveyance around the Film Code, it can use lyrics and sound to convey subtle meaning. From Rita’s song we
  4. The scene has noir all over it. It is dark, right down to the dresses both women wear, the color of their hair and the dark shadows cast by the drawn blinds. The shadows for the blinds on the carpet and the stair railings give thought to jail bars, a foreshadowing for these women. The dialog is sharp and cutting, no daughter in film would talk to her mother like Veda does. The director has the women face to face while Veda lashes out her venom to her mother. They are so close to each other that you wish Mildred would grab her and make her stop. It is not until Veda slaps her Mother that we (t
  5. As in “M” there is an initial starkness of scene and the shadows. As the credits roll at the start of “Ministry of Fear” all we see is a clock with a pendulum swing reminding of the slow passage of time. In “M” the children mimic a clock as the center child ticks around until she has reached the “out” child not unlike now passed the minute of time. The clock is metaphorically (and in reality) the slow passage of time. A minute goes by fairly quickly when a person is busy but when left in isolation and quite it can be as slow a glacier. We understand that this man has been waiting for the pass
  6. -- Describe some of the things Marlowe says or does that make him a new kind of private detective? Marlowe interrupt the girls planned speech which throws her character off balance and gives him an edge. He locks the door without her noticing and then while distracting her by looking at her hands he finds out her true identity. He has held the upper hand throughout the scene without breaking a sweat. -- Why do you think this kind of private detective fits so well within the film noir context? He is the catalyst that drives the film, he is not the knight in shining armor but does live by
  7. As we listen to Lydecker’s voice over, we are viewing curios that look more like museum pieces than items one would find decorating a “home”. This strikes me that Lydecker uses these to enforce the view he is someone of importance. As for Faces, The detective is kind of a nice looking average Joe but Lydecker has the sharp faced that reminds me of weasel. Although the movie is called “Laura” it is Lydecker’s voice we hear in the voice over at the beginning of the scene. He is making this narrative all about himself and not the poor dead Laura. Some important Noir style aspects are missing i
  8. In “M” one of the things that made this move standout for me was the language used by the criminal element true profanity that would not be heard in American films of the same time. This I thought added an air of authenticity.
  9. I don’t think you are reading too much into the possible undertone of criticism of the Nazis. Although they were not in full power at the time the film was made Lang was obviously aware of their growing influence. Yes Lang and Lorre both Jewish left Germany by 1934.
  10. I agree the lack of a music track allows for us to form our own views and not be guided by a musical score to view a scene one way or another. Scores can be a distraction and are tools of the director to make the viewer go down a purposeful path of the director’s choising.
  11. The use 1st person POV is very effective in conveying a sense of desperation. How would he know he wouldn’t be killed when he flung the garbage can off the truck or that he could elude the police that were just behind him? We see the expression of the man who picks him up as he is looking him over. It makes us as uncomfortable as the character Bogart is playing it draws us in and puts us in his shoes. As one of the first use of 1st person POV for most of the first half of the movie we become one with the character we don’t know if he is guilty but we are still hoping he will come out OK.
  12. In reading the replys here several of you mentioned that the lady in question shot her husband. Why do you think the man is her husband?
  13. Time is languid as seen by the dripping sap and workers relaxing in their quarters but this calm is broken by the sound of an unsuspected shot! A Great opening before the shot we suspect nothing and the shot itself is not a loud one and could be thunder until we see the victim stager out and fall then the shooter firing almost unthinkingly She is weirdly calm as she gives instructions to her servants that there has been an “accident”. We are left with many questions, How is this an accident? What happened before she shot him? Who is he and who is she? What do the servants think is going on and
  14. The opening scene of The Arrival of the Train brings a feeling of urgency that things are happening quickly and we must stay on top of them or be lost (die). The whistle both mechanical and human add to the urgency to stay alert by the shrillness of their sound. When we are plunged into the dark tunnel we are left to wonder what is happening in the dark will both men emerge unscathed. This open sequence is the prelude to other classic noir movies most obviously Strangers on a Train and one of my favorites Shadow of a Doubt.
  15. The song made me think of "Lizzy Bordon Took an Ax and gave her mother 40 wacks and when she saw what she had done gave her father 41" or something like that a ryming song with a sinester intent. A foreshadowing of things to come with German lyrics. BHH
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