Jump to content

Search In
  • More options...
Find results that contain...
Find results in...

Bill Engleson

  • Content Count

  • Joined

  • Last visited

About Bill Engleson

  • Rank
  1. The whole thing was fantastic, the films, the intros, the carefully developed caper. All much appreciated.
  2. This has been an excellent experience. I have so enjoyed the daily material, the rare conversations I engaged in, the others I followed, and above all, the homage to these grand noir. Thanks...
  3. This is live. Leon Ames has just popped up in "Lady in the Lake." After his authorative roll in "The Postman Always Rings Twice" and his massively excellent turn as Judy Garland's papa in "Meet Me In St. Louis," well, I am always hooked by his wit and delivery. B ut the joy of LITL is the warped Audrey Totter. She sends Barbara Stanwyck chills up and down my back every time I see her. Especially in "Tension." Which reminds me, I have a copy of ``FBI Girl`that I will have to watch again.
  4. How are the "entrances" of John Garfield and Lana Turner staged in this sequence? What do their "entrances" reveal about their character? Garfield is a wanderer. His casual entrance is the luck of the draw....a good ride, dropped off where a job is being offered. Carefree and aimless, looking for whatever is around the corner. Turner is stunning. Her entrance is enticing, beginning with the rolling lipstick on the floor and the eye-full camera sweep that frames her in the open doorway. -- What are some of the noir elements in this sequence? Contrary to many film noir, we are in bright (albeit black and white) sunlight, in the country, obviously waiting for something to happen. The cop stopping the DA is almost comical and Garfield’s character shows little interest. The fact that the epitome of law and order lives just down the way from the filling station/cafe bodes our anti-hero not well. Turner is the key noir element. She oozes trouble. Also, if there is a diner, you can bet your burger that you are smack dab in a noir. I suppose the smoking` hamburger perpetuates the smoking in noir element. Or the smoking-hot Turner. - - What did you notice in this sequence that you identify with the MGM "house style?" (Answer this question only if you are already familiar with other MGM films noir from this time period). If I have this right, and I may not, big stars, A list directors, are the key to the MGM house style. And well known supporting players. Leon Ames. The DA. You know he will reappear. One MGM film nourish sort of film from the same year is Undercurrent. And what a grand cast. Hepburn, the Roberts Taylor and Mitchum.
  5. A number of these obscure noirs are public domain, I believe. House by the River and The Furies may still be, as well a couple of others at least. YouTube Cinema.
  6. "Someone will doubtless find reason to comment on the renewed relevance of the problem of illegal aliens. No such parallel can exist. Again, I think it's still all about noir:" Bruno Anthony, I do see a huge similarity. Even if the similarity is only that 65 years on, "the problem of illegal aliens" continues. canadians are not immune from having few if any solution to our social issues. As for noir and the real world, Cornered, one of my favourites, dealt with residual justice from WW2. A number of other films of the period, noir to the bone, were fed and nourished by unresolved issues flowing out of that war.
  7. -- What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? The opening sequence in Border Incident is a masterful presentation of context and politics that sets the stage for this still relevant film. We know that a serious subject is being portrayed, the fact and fiction are about to mutually serve each other. -- What do you think documentary realism adds to the evolution and increased range of the film noir style? I am a sucker for this marriage of fiction and fact. Call Northside 777, The Naked City...I love this approach to storytelling and regret it has faded as an informative art. -- In what ways can the opening of Border Incident be considered an important contribution to the film noir style? As mentioned, the voice over documentarian approach simply ups the ante, lets you know that noir and the world are bedfellows.
  8. -- What are some of the influences you see in this sequence from other cinemas (such as German expressionism) or other art forms? For example, consider this scene in relation to the work of Fritz Lang (who also worked at UFA). Shadows, high angled shots, and not to drag out the notion of shadows but the young fellow who rushes in to the Swede`s room to warn him casts a shadow of a hung man against Pete Lund`s wall. -- How does this sequence shift its visual design from realism to formalism, as it moves from the diner to the Swede's room? The lit-up diner offers grilled ham cutlets; you can`t get more real than that, even if you are a vegetarian, which I am but I still wouldn`t mind digging in to some of them cutlets. The Swedes room is dark, like a mortuary after hours, all shapes and shapeless. The row of backyard fences, hurdled in a heroic but pointless attempt to warn the Swede, like a nightmare of obstacles`, an ultimately meaningless marathon. -- In what ways can this sequence from The Killers be considered an important contribution to the film noir style? This sequence has some punchy dialogue, life and death language, both from the hard-assed killers and the resigned and painfully fatalistic Swede. The real world, where the diner owner thoughtfully offers the cook a glass of water offers a sense of hope for those not intimately caught up in the angst of noir; the Swede offers only resignation. The contrast between these two world views is the dream, the ultimately failed dream of many noir protagonists (normalcy, remembered or idealized) best exemplified perhaps by Dix Handley in The Asphalt Jungle. For most of the doomed noir protagonists, normalcy is death, High Sierra like. Many run, some seek, others, like the Swede, just wait.
  9. Ah, one of the fine pleasures of watching noir over and over is that the convolutions eventually go away and nothing is ever crystal clear again. No seriously, I love the Falcon and part of that love is enjoying each and every moment and not caring a whole lot about the plot.
  10. Film Noir evolved from the dislocation and life disruption that unrolled with the end of the war. HUAC fed into that upheaval so I agree, in many ways, noir reflected the post-war sense of anomie. Many noir characters are vets working on repairing lost lives.
  11. -- Describe some of the things Marlowe says or does that make him a new kind of private detective? Powell's Marlowe has a snappy patter, and this quickness, while it draws on the style of the day, is sharp, angry and wise, even when he knows he doesn't know things. He is self-depracating, probably because he has a good understanding of what he doesn't know. Similar perhaps to this student of noir. --Why do you think this kind of private detective fits so well within the film noir context? Marlowe is an outsider. Not only does this make him a great observer, it also keeps him honest. Shady but honest. His heart, post-war pure, though what that is escapes me, is dark. This makes him a good film noir narrator, ffor while things happen to him, he can be seduced...for the moment, he remains clear that nothing can be taken fo granted. Anne Grayle doesn't fool him for a moment.. --In what ways can this scene from Murder, My Sweet be considered as an important contribution to the film noir style? I think this scene links strongly with the ethics espoused by Sam Spade.Marlowe needs to redeem himself for failing to protect his client in much te same way that Spade needs to find and punish his slimy partners murderer. This inherent justice is at least in part, a noir tradition. There is natural justice; not always pleasant but things get evened out. Have to catch a ferry. Sorry for rambling.
  12. The opening scene and the almost emotionless but cultured voice of Waldo Lydecker that traverses the flow the camera, that captures the images of magnificent collectables, of a rich and , I think as I watch, decadent home, perhaps not even a home, more a museum or art gallery, it all prepares the viewer for almost anything but Waldo in his impressive bathtub. Others have noted; egotistical, fastidious Waldo plays well against Mark. You know a fine and classic duel is going to unfold. Most noirs seem to me to live in the dark. Even with the glorious light in Waldo's chamber, his home, his light only shines a self-centred darkness. Nevertheless, its all intoxicating. As for moving noir forward, thje opening could lead anywhere. It does find a noirish piton to hang on to but it always seems to me to be too rich, too detailed for noir.
  13. Dark Passage begins so masterfully. The viewer has no choice but to experience Parry's rocky escape. The camera keeps you captive. It bonds you with Parry. You are in his skin, in his eyes. The irritating guy who picks Parry up probably set hitchhiking back a couple of years. As some have observed, he deserved a good punch. (Spoiler) He reappears and that is worth price of admission. I love the irony of "Dark" Passage beginning in so much light, aside from the bleakness of the barrel and the drainage tunnel. As a writer, I enjoy creating conversations in the head of my characters. So to with this film. The step by step extrication by Parry is enhanced by the voice over.
  14. WE are all of us lulled to sleep by the slow ease moving of the camera, (many of us, dare I say are in one of those hammocks,) napping, waiting; clouds cover the moon; evil portends. Has there been an accident? Bet Davis is already spinning HER narrative. Excellent noir beginning; a woman scorned, or betrayed, or crossed, or just plain murderous. The story will tell.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...