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Michael Henry

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    14
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About Michael Henry

  • Rank
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  • Birthday 11/13/1961

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  • Gender
    Male
  • Location
    Arizona
  1. How are the "entrances" of John Garfield and Lana Turner staged in this sequence? What do their "entrances" reveal about their character? John Garfield entrance tells us that he is a foot loose and fancy free person. Not a care in the world and he has never been anywhere long enough for his shoes to get old. Lana Turner's entrance tells me that she is looking for a little something something and hoping Garfield stays around to give it to her. She doesn't care about her husband, and isn't afraid to user her womanly prowess to get what she wants. As Kathy Bates said in The Waterboy, "Cau
  2. The scene contains two dramatic entrances, one for each actor. How is each entrance different? What changes in the scene as they continue to interact after their entrances? When we first see Lorre he enters very relaxed, contemplating the person he just spoke to. Gleefully observing that the person is completely with scruples. However when Greenstreet enters the intensity is turned up. Everything becomes serious, and dangerous. We notice that Greenstreet has a gun, we fear the gun, but not so much the tube of toothpaste.
  3. We learn that Kathie is on the run from someone named Whit , and Jeff has been sent to retrieve her, supposedly because Kathie has taken $40,000. However Jeff takes one look at Kathie and knows that the money is not the reason Whit wants Kathie back.
  4. At the start of the scene we see the dinner in an askew angle, as if to warn us that something is just not right. We see the proprietor and another man. The customer asks for something to eat and is told "We're not cooking tonight". What is wrong here? We then go into the dinner which is brightly lit and the actors are square in the frame. We then go into the back where the cook and another patron are bound and gagged. All of this is shot in a realistic manner. When the patron leave to tell "The Swede" that there are killers looking for him the scene becomes very dark, the streets are
  5. Wow what a scene. I think that Rita's acting stoned (on whatever) does take away from the scene a bit. At times she is almost falling over, and then others seems to be under control. I understand that she is supposed to be stoned, but at times I think she over does it. Gilda is performing this number in order to get under Johnny's skin and she does it very well. I try to look at other aspects of the scene, such as lighting, shadows, the way it is framed, but I always come back to Gilda. I can't help thinking I am missing something though. Why does she want to get back at Johnny? what
  6. -- How does Curtiz arrange these two actresses to heighten the tension of the scene? Pay attention to how they move and how they are framed in the scene, especially the use of close-ups Clearly the the actresses are arranged in a manner of who has the power. At first Crawford does whith her questioning of Blyth, whith Crawford above and behind Blyth. Then the staging starts tow sway as Blyth spins around on the couch to answer. Blyth then risies and they are on a equal playing field as Blyth explains that she may not be pregnant. This leads to the confrontation, and as the power is shifted
  7. Describe some of the things Marlowe says or does that make him a new kind of private detective? In a lot of detective movies the detective sits back and takes the side of the client. Questioning the client with a soft, caring, likeable manner. Here Marlowe takes a more aggressive approach, grasping the client and rummaging through her purse to find her true identity, the slyly stashing the bank book underneath the blotter. He questions her much like you would expect a policeman would, except where is the phone book or rubber hose.
  8. I once saw an interview with John Carpenter, about the movie Halloween. He stated; and I am paraphrasing here; that he took the movie out to sell without any music in the sound track and no one bit. He then went back and added the legendary theme to the movie and it sold. He said he learned a very important lesson that day. I agree, music indeed does help set the mood.
  9. —Do you feel this film's use of first person POV in this scene was successful or not successful, and did it add to the tension? Having seen this movie I know why the first person POV was used by Delmer Daves in the opening sequence of Dark Passage, it works. I think that wanting to see the face of the unknown person leads to the mystery and makes us want to continue to watch, at least to the inevitable point that we do get to see his face. —In what ways can the opening of Dark Passage be considered an important contribution to the film noir style? Insight into the mind of our primary cha
  10. Cool! I did not know about the "Lady in the Lake" movie, just finished the book a couple of weeks ago.
  11. Is there anything more terrifying than a shadowy stranger talking to a little child.
  12. Why wasn't everyone surprised by the action of the lady? I agree. It seems as though the field hands seem to be used to this sort of behavior, and the coolness in which Davis does the deed seems to say it aint the first time. My first thought, "Gee lady was it something I said?"
  13. I felt very excited during the opening shots. The pace seemed almost unreal. I had a terrible feeling that we were at the point of almost loosing control. The symbolism was extreme, I remember thinking, "Someone is going to get thrown into the fire, or under the wheels," and yet we kept rolling on. When the second train came towards us the camera angle made me think, "We were just running head on into trouble all along."
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