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About KelleyB

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  1. When watching this office scene, I kept thinking of Steve Martin's Dead Men Don't Wear Plaid which I am going to watch again this weekend. The office sets there (when not cut directly from the classic films) and in The Cheap Detective are direct references and homages to the trope of the detective office as we see it here. I think location/setting is a vital part of creating mood both on stage and in film. Far as the question about why is this kind of detective right for film noir? I really liked the concept of noir having the protagonist who knows what he/she is doing to be wrong, but
  2. When thinking about 'the furnishings' in Laura, I had to rewatch the end of the film this evening, after seeing the opening clip this morning. And with the opening sequence focusing on the objects d'art (possibly including the portrait while the titles are rolling) and then with the broken clock towards the end - it's like bookending the film - how you come into this noir world as an observer and then how you leave it when the story has been told. Tangential to that, and maybe because I was watching Gosford Park this past weekend, when you think about furnishings - class distinction comes
  3. I'd be hard pressed to find someone looking as glamorous as Bette Davis while committing murder. I have this film on DVD. More so than the other two opening sequences thus far, I feel this is noir - the play of shadows and light, the music cues. I love the reaction shots of the workers to the sounds of the gunshots. Knowing the film from previous viewings, it occurs to me this could easily be seen as the start of ACT II after intermission - we have come into the story in the middle and all the set up happened off stage, earlier. I like that slice of life, dropped into the middle of the act
  4. I watched this clip twice. The second time with the sound muted. I had read somewhere today how the opening sequence captured the excitement in it's time that The Great Train Robbery evoked in 1903, hence the experiment. What I noticed is without the audio track, my scribbled notes were "grounded", "real" and "sense of speed". I loved the shots from the exterior of the engine, gazing down the lines of the track, crossing the bridge. The cuts between the two characters - showing their easy working manner, conveys a level of trust and comfort establishing they are likely long-term collea
  5. This one statement on the boards stuck with me as I read through the conversation. When watching TCM with my friends or family, from time to time we play the "modern cast' game that Hollywood seems to be bent on particularly in the recent decade. And one actor came to mind that would give me similiar trepidation - Brad Dourif in the Lorre role. Beyond that thought, the first word that came to me was 'spare' - nothing that was not needed. Knowing this was holds importance as an early sound film, I think the opening benefits from benig free to handle sound texture without being subject to an
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