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About MilliePu

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  1. In the beginning sequence of Lang's Ministry of Fear, the clock's swinging of the pendulum creates a sense of unease and anticipation. The main character, Stephen Neale, is anxiously awaiting his release from a mental institution; he stares at the clock with a wild look in his eye, grasping his hands in disquieted hesitation. Additionally, much like the literary device of iambic pentameter, the sound coming from the clock also mimics the sound of a human heartbeat, with the stressed, unstressed rhythm. The audience can substitute the tangible static of the pendulum with Neale's own heartbeat,
  2. In this particular scene where Marlowe, played by Dick Powell, is approached by a mysterious woman, Anne Gayle, he wrestles with the ideology of deception. Marlowe becomes immediately apprehensive Gayle's intentions and she reveals that she is there under false pretenses, as well as an erroneous identity. As many other protagonists in film noir, they are preened to mistrust the world because all that they have been exposed to are individuals who are fraudulent, dishonest, and overall seedy. Women, in the form of a femme fetal, are often an aspect that often misguides the protagonist along thei
  3. Much like many other films that fall under the umbrella of film noir, Otto Preminger's Laura uses the decadent setting of Waldo Lydecker's lavish, yet ominous home in order to heighten the intensity of the atmosphere. As the camera pans over the room, the placement and antiquity of the objects help contribute to the inauspicious nature of the general environment, as well as Lydecker himself. Lydecker's room almost becomes a character of the film, similar to the decaying Hollywood mansion of Norma Desmond in Sunset Boulevard.
  4. The first-person POV only contributes to the audience's intimacy towards the film's anti-hero, Vincent Perry, portrayed by a brilliant Bogart. Like several others had already emphasized, we, as an audience are Perry. With this visual coherence, the audience is more inclined to feel sympathetic towards a character who may not have initial high merits, which is commonplace within the realm of film noir.
  5. If I was not aware that The Letter had been within the sphere of film noir, I would have been more than startled by the first sequence of the film. During the film's exposition, a seemingly peaceful environment is complicated by an unexpected murder. Knowing that the film follows the formulaic norms of the film noir genre, having Bette Davis as a femme fetale who kills her assumed lover had been like clockwork. This is yet another film that I have not been able to see. I look forward to watching the rest of the movie.
  6. Much like Fritz Lang's opening scene for his film, M, Jean Renoir's La Bete Humaine utilizes natural sounds to develop a sense of turbulence within its atmospheric setting. The abrasive clamor of the engine, the boisterous percussion of the tracks, and the unabashed racket of the train whistle enrich the scene with suggestions of uncertainty. In terms of visual interpretation, the tunnel montage is especially significant. That moment of utter darkness is a bold reference to the visceral nature of humanity. I, like many others, have yet to see this film. Because of this impelling clip,
  7. As many of you have reflected, Lang's use of menial sounds, such as the echoes of children playing and the bouncing ball, builds the foreboding foreground of the film. Additionally, Lang contrasts the banal dun with strategic moments of silence, which only adds to the to the ominous setting. For instance, after the laundress scolds the children for reciting the macabre rhyme, there is a juncture of stillness that haunts the audience for several seconds; the polarity of sound and silence at this particular point in time foreshadows the eventual horrors that occur later in the film.
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