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About marshu

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  1. I just watched the commentary by Eddie Muller and James Ellory for Crime Wave. I hope Muller will not be a sophamoric on Thursday as he and Ellory were in this commentary. It would be a bad ending to a wonderful class.
  2. The music rises and falls languid and lush, so does the staccato conversation of the lovers with a little poetry in their language and a great deal of emotion in their voices.
  3. Maybe I'm odd, but I don't associate the Salvation Army just with goodness and purity. First, their work takes them to some nasty places to work with some seedy people. Second, they have quasi-militaristic fashion to their religious approach. Yes, they do good work, but seeing them in the first shot of the film makes me expect to see some nasty things.
  4. This film does do something very different than the others--the train sounds begin when the student logo is being shown. It succeeds in highlighting the importance of the train. There are many noir elements: trench coats, fedoras, tough cops, trains, darkness, the train coming right at you, cigarettes, and matches. It also has a soft cop with a broader, more positive attitude. Maybe his getting old. Maybe some critics things film nior is getting old. Personally, I have no problem with this. It's good cop/bad cop with more to come.
  5. Time is of the essence in any heist. You have to know when and where people are during the day-to-day of the location. The music cues the importance of the timing of all movements. I keep thinking of the watchmaker god of the 1800s. The argument for the existence of god was intelligent design. That’s what Foster is trying to do—intelligent design. Even if you haven’t seen the movie, you know the design might have been intelligent but not perfect otherwise the story couldn’t be told.
  6. I just watched the documentary: Film Noir: Bringing Darkness To Light. It includes everything we have been talking about during the class. They have directors and actors from the films and some of the authors we have read. This documentary brings it all together in one neat package.
  7. The TV in this scene is showing a movie of the past. It just shows what happened. When the director includes Payne in the scene, he shows the pain (no pun intended) in real time. This isn't just a cold documentary, but real life. The crushed dreams and inability to see a bright future is evident. I kept thinking of Brando's line: "I could have been a contender." The minute Castle thinks she was a contender, Payne knocks her down as if he punched her. He's reeling from her punch his future, and he had to hit her hard.
  8. I suspected someone would say what I saw in the scene by today--and you did. I do want to add one thing about Sam. When he is talking to Walter, he is sitting back relaxed. Walter doesn't have the power, just the position of power. He hasn't frightened Same or even made him feel uncomoftable. You cans see that when he asks for a favor. As you mentioned, he tell Walter: "you will." They are standing on even physical ground with Sam taking a drink from Walter. Walter never had the power in this scene, he just tries to get it through his physical presence. When Martha comes in, she and Sam ar
  9. Maybe this couple was innocent when the bag of money landed in their car, but the innocence evaporated when Jane takes the wheel and drives away. She has to know them money is ill-gotten gains. Those gains must be returned to the owner or terrible things would happen. Jane steals the money. She could have had Allen through the bag out on the street so the oncoming car could pick it up. They could have gotten away and been safe, but this is noir. You don't do the safe thing.
  10. When I first saw the feet, I assumed the flashy shoes would belong to the younger man. When we finally see the two men, it is the slightly older man who wears the flashy shoes. Bruno then shows the tie clip which even he admits is not in great taste. You start to get an idea of the man. He's a bit flashy--why? He doesn't seem confident. He immediatly latches on to the Farley character. It isn't until that moment when you get a creepy feeling. Just that short time tells you Farley Granger--Guy--is going to have problems with Bruno. Even their names tell you about their character. It's not a sur
  11. When I examine the beginning of D.O.A., I see the first two minutes as positive. Yes, it's dark and the halls seem endless. The music and O'Brien's movements are so positive. He moves quickly, with a mission. It isn't until he comes into the light to report the murder that you realize this is film noir. His clothing is dirty. He looks exhausted. He's reporting his murder. He knows he has very little time. The only thing he wants to do is tell his story. Rather than having your life flash before your eyes the moments before death, he needs to tell the story of his last 24 hours before his eyes
  12. I want to respond to the comment about getting dressed up to go to prison. First, women were expected to dress up to go to the corner store in this time period. Even in the 60's when I was a kid, my mom would not leave the house to go somewhere public without lip stick. Second, when they go to prison, who do they leave behind? Woud they care for your best clothes for years? If nothing else, the clothes would be safe in prison. When you are released years later, you have no idea what the fashion will be, but you do know you want to be wearing the best quality clothes you own. I also wanted
  13. This clip reminds me of Flannery O’Connor’s “A Good Man is Hard to Find.” They pick up someone not realizing he’s the escaped murderer. The family is hopeless (although Grandma doesn’t think she will actually be killed) just like O’Brien and his friend. They do what they are told without real hope of living through the experience. Unlike O’Connor, Lupino gets straight to the point—they’ve picked up the wrong man. The only light in the first minute is the one showing the gun. Like spotlight, it lets the men know they don’t have a bright future. I haven’t seen this film, but it can’t end happily
  14. The lyrics of the song playing in the car capture what is happening in the clip: The night is mighty chilly And conversation seems pretty silly I feel so mean and rot I’d rather have the blues than what I’ve got The room is dark and gloomy You don’t know what you’re doing to me The web has got me caught I’d rather have the blues than what I’ve got All night I walk the city Watching the people go by I try to sing a little ditty But all that comes out is a sigh The street looks very frightening The rain begins and then comes lightning It seems love’s gone to pot I’d rather have the blues tha
  15. Lorre exits the elevator saying: “completely immoral, but fascinating.” He has a smile on his face and a look of relaxed interest. I don’t know why he said it, but when he enters his room, he finds Greenstreet searching his room. That’s immoral—but interesting. Although Greenstreet has the gun, Lorre isn’t really afraid. His responses are easy. Lorre asks Greenstreet what he is doing, and Greenstreet is a lost. Lorre knows exactly what he is doing.
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