Jump to content

Search In
  • More options...
Find results that contain...
Find results in...


  • Content Count

  • Joined

  • Last visited


About moxie264

  • Rank
  • Birthday 03/19/1956

Profile Information

  • Gender
  • Location
    Northern California
  1. I just saw Clash by Night, which I DVR'd on TCM last week. It was also directed by Fritz Lang. The opening is a really unique noir opening set in Monterrey, California.
  2. The interpersonal relationship between Sam (Heflin), Walter (Douglas), is an egocentric power struggle from the beginning. Notice how close they are when they are talking to each other, how their eyes hone in like bird of prey, and how Walter is seated above and looking down on Sam. Mrs. O'Neil (Stanwyck) arrives and is announced by Walter's secretary. When Sam states he would like to see her, the glare Walter gives him is unsettling. As Martha O'Neil enters the office Sam immediately takes control of the conversation under Walter's glare. Their past relationship is revealed and Sam overtly says "I was always big for my my age, you remember?" They both glance at Walter as if they are guarding a shared secret and Walter tightens his hand on his drink. As Sam continually flatters, hugs and touches Martha he states it sounds funny for Walter to refer to Martha as his wife. When Sam walks to the door to exit the office and states "Here's hoping you'll win the election" Walter says with certainty "I will." "A sure thing is never a gamble" states Martha. There is a clear implication for corruption in the future. We have a classic noir theme of the tough guys and the femme fatale, but this time played out in a political arena. We question at this point where Martha's loyalties will lie and how a questionable past with dictate they future of all the players.
  3. I love that we are introduce to Lana Turner by the dropping of her lipstick that rolls across the floor in the direction of John Garfield. The long, low angle shot from the lipstick to her shoes and then her gorgeous legs. Garfield has come undone. Turner has control. The hamburger sizzles and then burns. Could it? Would it? Should this be a metaphor for our key players?!?
  4. 95% for me too! I really loved the article "Low Company, High Style: The Eternal Allure of Film Noir" By Eddie Muller. He really brought up a lot of great points. Greed, lust, jealousy, and revenge, who could ask more from film!
  5. Fascinating as Marlowe grabs the femme fatale's hand and asks "Do your own typing Miss Alison?" This cat and mouse interchange is extraordinary as it leads her to intially believe she's vamped Marlowe as is in control. Yet, he instantly empties out her purse, reading her actual name on her passbook and very sarcastically says "I'm not always this brilliant Miss Grayle but I'm improving." His false vulnerability as he goes in for the kill is perhaps his way of scaling down to her level and appearing more, human and approachable. He continues to try to get more information from her as his voice increases in volume.
  6. For those having trouble finding lectures: use this link which will take you to a login screen where you can sign in or create an account : https://learn.canvas.net/courses/748 Here you will find the first quiz, which I found accidentally. It will be available 6-11. https://learn.canvas.net/courses/748/quizzes/7016 -M
  7. This opening scene is poignant. The piercing sound of the cuckoo clock in the home of the washer woman, breaking her drudgery and bleak existence with anticipation that her daughter will soon be home from school. Immediately this is followed by the jarring shrill of the school bell and a shot of parents together but standing so very alone waiting for their children outside of the school. We don't see parents and children together, they're of two different worlds. Mom is wearing a very heavy apron preparing a meal for her daughter. The apron is a metaphor will not protect her from the pain she will soon be facing. Her daughter almost gets hit by a car, a foreshadowing of the child's death. As she bounces her ball down the street, she passes an open door leading to darkness. She is oblivious and not threatened. Reaching the "Who Is The Murderer" poster a man begins to talk to her but we only see his ominous shadow. We know what is going to happen.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...