Jump to content
Search In
  • More options...
Find results that contain...
Find results in...


  • Content Count

  • Joined

  • Last visited

About DNAratoz

  • Rank
  1. I was just a young teenager back in the early 1970s when I had gotten my first television set for my bedroom. It was a little black-and-white Panasonic that in pre-cable days showed grainy images even with rabbit ears. Somehow this coincided with my burgeoning discovery of old Hollywood films that aired occasionally on the networks. Two films in particular left an indelible stamp on my young psyche back then, largely due to the acting prowess of its female stars but also because of the directorial masterfulness in showcasing these women. One was Greta Garbo in Camille while the other was R
  2. First, I love the title of this topic..."Soaking in Noir"! Clever. It appears at first that Lydecker has the omniscience of a god as he observes McPherson's every move unawares. This registers as an upper hand and power over the unsuspecting but then we discover Lydecker in the bath tub, a position of vulnerability, as if to say, things are not always what they seem which we eventually find out runs through the course of the movie. By today's standards, the ascetic culture maven and intellectual (Lydecker) is a stereotype that generally assumes the position of the "bad guy". Was this not
  3. I didn't find the POV camera work in this opening to Dark Passage to be all that convincing largely because it wasn't consistent. Sometimes (most of the time) we are viewing the world through Bogart's eyes but there are a few times when we see Bogart through our own eyes within that world. Right from the get-go, we see his hands from outside of the barrel. Then, as the barrel careers off the truck, it was clever to position the camera within the rolling barrel but then we watch Bogart leave the barrel and stagger out. That, to me, was a jarring switch and my first thought was, wow, was the
  4. Not ever having seen La Bete Humaine nor familiar with it, I can not be certain if the two train engineers are criminals or innocents. The set-up reminds me of other films in which we, the observers, become privy to the machinations of a crime about to happen, such as a grand heist. The perpetrators are workmanlike, intent on getting the job done. We go along for the ride, literally in this case, with the fluid pov train footage. On the other hand, it could be two ordinary workers going about their business unaware they are about to get caught up in something sinister. A planned derailmen
  5. In the opening sequence of M, I couldn't help but notice the use of a characteristic noir motif of cage-like bars in several places. It could have been Lang's intention perhaps or just coincidence but these lines seem to suggest a foreshadowing of prison or jail bars, or just the concept of being trapped and at the mercy of someone on the outside. First they can be seen in the railing across the veranda. Then the motif is repeated with a prominent view of the balustrade as the woman carrying the basket of clothes reaches the top of the stairs and again, in the straight vertical lines of back
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...