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patchanna

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About patchanna

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  1. I am not sure where I replied all last week, I think it was Canvas, if that is OK. I have replied there just now, but also copied to this board because I now realize there are 2 boards.... I hope I have not been lost in my own noir movie. This scene contains many devices that we have already studied to set up the scene. The aerial view from the plane resembles a documentary approach. It fits the realistic presentation. The narrative voice explaining the background behind the events to come. The various camera angles that change from scene to scene create variety in establishing our estim
  2. Yes, I have always appreciated the long, slow views of the camera work around the set/environment.
  3. I am glad you brought up the differences in job classifications and social placement. for years I have been doing mental math about Laura's entry and then subsequent success in the design field. I know things might have been different in the 40's, but first, she was a woman trying to enter the field. Maybe because of the year the movie was made, or when Vera Caspary wrote the book, ladies were able to jump into job opportunities because most of the men were in the military fighting the War. But then, from all that I can surmise, she seems to be about 17 (!!!) as she tries to make her first inr
  4. I think that Dana Andrews was a perfect McPherson. I think of his other roles in film during the '40's. There is always some sort of underlying cynicism to each of his characters, in varying degrees to fit the roles. The sarcastic humor that allows him to observe and review the reaction of the other characters to his observations fits well with his abilities to size up each character in order to come to a conclusion about the killer. Lydecker is perfectly crafted by Clifton Webb who ikewise seems to contain a certain amount of this persona in each of many other roles. Sometimes, however, durin
  5. Both POV movies are structured in such a way as to accommodate the POV device. I, too, like the POV from Lady in the Lake better as it allows the characters a slightly more natural way of responding to one another. Of course, possibly that is also due to the relationship between the actors/and their characters. The banter in Lady is lighter while at the same time seriously attempting to follow te clues to solve the mystery of the murder. In Dark Passage, for some reason, I cannot allow myself to fantasize freely about Bogart's excellent condition after rolling down the hill in the barrel, and
  6. I noticed that in this opening scene much of the tonal atmosphere relied upon the mid to dark values as it is a pan of a night scene. All at once a white bird flutters away from his perch on a scaffold. As the action proceeds and the sounds of the gun shots pierce this sleepy landscape, the results become clear as the form of the now deceased man lies motionless on the ground. The only part of his body that is illuminated from a cast shadow is a pair of white pants. I have no idea, but the two distinct items of white value might be connected. I have to think about this until Friday. I have see
  7. I noticed, as well, that in the final scene inside the house, Davis's hand still remains opens in the release pose after drooping the gun. It is as if she cannot use her own instrument of destruction. After committing such a fatal act, she has lost the potency of that limb for the time being. Interestingly enough, her preoccupation throughout the rest of the movie is the personal control she attempts to maintain by the use of her hands creating her lace crochet.
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  9. The treatment of the train in this scene is made personal by the interaction of the two men who service the engine. Their forms of communication are varied because of the multi-tasking activities with which each is engaged and of course, the intensity of the noise and the movement. As a person who has lived quite near a set of tracks for 28 years, I can feel the consuming nature of the presence of the train's portrayal because it is exactly how I feel when the trains whoosh past me above my shoulders when I am out for a walk. I feel compressed and strained by both the very loud noise, the movi
  10. I thought it was interesting how Lang altered the vantage points of the scenes as they changed from one to an other. Looking down from above to the scene of the children singing their deadly song, shifting to the strong diagonal of the bottom of the overhanging porch, then to the corner view of the in-house staircase, the cropped views of the 2 women, and the close-up of the German clock all create a shifting sense of place, causing the viewer to develop a set of expectations about what might happen, and when. Again as we see the featured child, she seems to stand a slightly disorienting p
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