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About bazarov

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  1. Welles shared direction credit Toland in the film's credits: http://filmsnoir.net/wp-content/uploads/2007/10/ckane_credits.jpg
  2. Regarding the characterisation of the Gloria Graeme character in In a Lonely Pkace as a femme-fatale in the final part of the lecture. In more than a few noirs female protagonists are not femme-fatales but more femmes-noir - women enmeshed as male protagonists are. The Graeme character can in no way be seen as a femme-fatale. You could say that Bogart is the homme-fatale to Graeme. I may be jumping the gun regarding Existentialism, in Fritz Lang's The Big Heat, you have more than one femme-noir - philosophy majors not but they act by their refusal to accept their fate without a fight. As
  3. Perfection. Analysing this scene is like dissecting La Gioconda. Presumptuous and futile.
  4. This scene belongs to the actors. Too much is read into the structure of the scene. It is simply about sex and power. Garfield is trapped from the moment the lipstick hits the floor. Turner's ice cold calculation is in her eyes. For an actress of limited range she nails this scene - big time.
  5. What we have here is the classic Hollywood magic. High production values, elegant and exotic set design, great acting, and dialog that celebrates language. I suspect Neguleso delivered this on not much more than a B budget. Due credit must also be given to Eric Ambler's source novel. It is a typical Ambler conceit to put a banal protagonist in peril - in this case a writer of murder mysteries who has never seen a dead body.
  6. Tournuer revels in contradiction. The femme fatale is introduced as angelic purity. Later at the end she prepares for her last car ride in dark colours that are akin to a nun's habit and again she is framed under an archway. Tournuer's symbolic mis-en-scéne is redolent throughout the movie.
  7. Bogart is Bogart. He brings his charisma with him. Serious hard-boiled and honest. You get what you see. Essentially he is channelling Chandler's Marlowe as Spade except that Marlowe was a loner who never had a partner while Hammett's Spade is not above having an affair with his partner's wife. The irony is that Hawks has Marlowe as a much darker figure at the end - willing to bend the law and kill for a dame. Hawks plays up the amour fou angle while Chandler kept it at a low simmer. Hawks should have used a Bogart voice-over of Chandler's monologue. In the book it immediately establishes that
  8. The irony is that - and the punks at HUAC were oblivious - Mann and Alton subvert in their imagery in key sequences of the film the propaganda that "illegals" are the problem. U.S. agribusiness exploitation of impoverished Latinos was - and still is - the real story. The climactic tractor scene is explicit in its condemnation, and Alton's shooting of the border stakeout sequence is pure poetry. Film noir was the closest Hollywood ever got to subversion.
  9. I think to fully appreciate this scenario you have to include the opening titles sequence of the hitmen shown from the back in silhouette driving into the town. With this opening sequence you have a framing that tends to formalism. Expressionism is the dominant aesthetic and I am hesitant to agree that there is a shift to "formalism". The sequence is set at night so the darkness and deep shadows are more naturalistic than formalistic. Any street or room at night has a "dark" aura. What Siodmak and his DP have done is to harness the reality not formalise it. Tarkovsky’s adaptation - Ubiytsy
  10. This scene is essentially a glamorous showcase for Rita Hayworth, and the allegory is largely ham-fisted and ultimately superfluous
  11. I can't seem to post in the Canvas app as my message gets truncated... So I am using this topic. Hi Richard Today's email re the first quiz says the link to the quiz "will be in the Assignments link in the left hand navigation bar or at the bottom of "Further Investigations of The Heist" Page"? I can't find these locations. I did find the Quizz by going to Grades | My Courses |Course | Quizzes, where details of the quiz are also set out. A good idea would be to add hyperlinks to the content listed as covered by the quiz. I don't recall seeing this content at all: 3. Further In
  12. The melodrama threatens to wreck this scene but the two actresses hold it in check, and Max Steiner's brilliant score pulls your emotions to a crescendo halted by that savage slap and with greed ascendant on the stairs.
  13. The long lingering shots don't work that well as they are too obvious. It is the expressionist lighting and the score that drum up the tension.
  14. Dunno about POV working at all well here. I have always felt it gimmicky, and the movie suffers for it. What really works is the legendary taxi scene where Bogie gets the tip on the plastic surgeon. He is in the back seat in silhouette and the scene is filmed from the windscreen with the cabbie in the front seat to the right and Bogie to the left. Brilliant!
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