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Louis' Friend

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About Louis' Friend

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    Advanced Member
  • Birthday 03/02/1957

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    Ottawa, Ontario
  1. "Without you I'd be lost in a land of silence." Cue music, sexy and haunting and moody. I thought it fit the scene perfectly as the camera pulls away, they continue to carry on this sensual conversation as the credits roll. That is the genius of jazz.
  2. Some of the noir elements I saw were the high angle shots of Ryan running through the train yard crossing over the tracks, the superimposed shots of the train wheels and the train headlight over Robert Ryan's face giving the feeling that he can't escape from somthing. Putting the hammer away seemed meaningful to me, since nothing on the to do list needed a hammer to do it. Why was it there? Did he use it to kill the woman in the closet? Is that why the sign from the Salvation Army is prominent? "Keep the Pot Boiling" is this murder what is boiling? Is it going to continue to boil when he arrives at his new destination? I think this scene reveals noir themes from the 50's with this troubled man on the run from something. Is he a murderer? Psychotic? Well I guess we'll find out on Friday.
  3. Can somebody please tell me if the opening scene here, when the one train passes the other, is a recycled clip from one of the earlier movies in our course "Crack-Up" with Pat O'Brien. Not the dream sequence scene when the trains crash, but the later scene when he remembers what really happens. I could be crazy, but it seems so familiar. Maybe I've just watched too many of these movies is the last few weeks and they're all starting to run together. Anyways, it's sad it's coming to an end. I'll miss talking with all of you.
  4. I'm afraid I do agree with Hirsch's take that the dialogue sounds like a "parody of the hard-boiled school." There are times in this scene, especially when the partner is talking to the cabbie, that they talk so fast you can hardly understand what they are saying. The description of the "dame" they are about to pick up uses every adjective in the book to describe a noir woman. I've also always thought that Charles McGraw voice was so gravelly and gruff that it always sounded like he was a little over-the-top, no matter what movie he was in. Great for noirs male characters, but not always fitting for other characters.
  5. The checking and double checking, over days, of the timing of passing squad cars, arrivals of delivery and armored trucks, the duration of their stays at the florists and bank, the departure times of both trucks. The plan is synchronized to the tee for the "perfect crime." When will it occur? How will the delivery man be involved? Will it succeed? We are part of this heist in the POV shots from the window with the architect of this heist. All the shots of clocks and watches have shown themselves before in our noir studies. The feeling that something is about to happen. Sometimes it meant freedom and sometimes doom. I think we know what is about to come. I look at criminals a little differently in a heist film, in this particular scene, because we see a more calculating and calm criminal. Other criminals came off as more crazed and impulsive, driven by passions or greed. We don't read any of that from this scene.
  6. In the cinema shots of the fight scene, I found all the noir elements, the low angle shots of the fighters and all the closeups, when they showed the television shots I noticed the camera pull away. This is a couple clearly dissatisfied with the path their lives have taken. The flower shop clerk who wanted to be a star and the cab driver who never realized his dream of being a prizefighter. The introduction of the television in the 50's now interrupting the family dinner and the art of conversation. I really don't think she wants to be with this loser, in her eyes, anymore. Again as in many of the later noirs, the theme being the lack of money and the want of it. What's to come in the rest of the narrative to achieve that goal?
  7. The staging at the start of the scene seems to suggest that Walter, the DA in his fancy office, and standing over Sam, has the upper hand, but the dialogue suggests something completely different. Sam is the easy going, confident character that Walter wants to be better than, but can't seem to be. When Sam asks Walter to help out Toni Marachek, Walter says he'll have to see, but Sam says "You will." Obviously, in their past, Sam held the position of power between the two of them, as Walter slinks off behind the desk. As Martha enters, Walter is alone and obviously jealous of the interaction between Sam and Martha, this is not a happy man. Their reunion is the total opposite, happy to see each other, leaning into each other almost giddy. There's definitely something romantic from their past. As far as the noir themes go, I'll use Manny Farber's words from his critique of the film, "four people who have lived cataclysmic laughterless lives since they were babies." I think that pretty well sums up what we find out about these people and what is about to happen to them in this film. I saw this noir location in the films of "Out of the Past," "The Stranger," "The Killers," and so on and so on and.........
  8. This dark road with a couple innocently travelling down it, not knowing that fate is lying around the corner. This sulky, spoiled wife trying to get her own way so that she doesn't have endure an evening with a rich, superior woman. Keep going on Jane...he'll give in...he always does. What's this? Something getting thrown into the car? What could it be? MONEY! Our femme fatale emerges in that instant with the greedy little smile of Lizabeth Scott. She's definitely one of the queen's of the B's. With great support from Arthur Kennedy as the dutiful, yet irritated husband. The escape begins, and this woman is now in charge of their fate, with the fearful chagrin of Alan. You can see it in her eyes the whole time they're being chased...just let him try to get this money back from me! The new woman of America post war? I'm sure not the norm, but a woman finding herself on that fateful night.
  9. I think the rhythm in this scene is different because I don't feel the foreboding nature and darkness that I felt in the other two films. Here the music is light and almost humorous and there are no dark corners that I'm looking into for something evil lurking. We know it's coming but not yet. The beautiful shot of the entrance arches is so noir to me. The low angle shots of the legs getting out of the cabs and walking in the station, the shots of the people from behind entering the station never seeing their faces. The shots of the train tracks reminded me so much of the shots in La Bette Humaine. With the introduction of our two characters I find the set up of two opposites. The flamboyant, almost feminine like Bruno Antony rambling on about himself and the modestly dressed, private tennis player Guy Haines. As these continue their story as two opposing forces we will see the introduction of evil and good. I believe Hitchcock should be a special case for film noir. I don't find all of his movies have the elements of film noir in it while I believe others do. So I do agree with many of you on this discussion.
  10. I've seen this movie many times, every time I fall on it I can't help but watch it again. Edmund O'Brien plays this doomed man to perfection and although all the film noir traits are evident and incredible, O'Brien's perfomance is outstanding. I find the parallels of our opening scenes this week all have one thing in common ,"we have no certainty of our destinations." Whether, escaping from an asylum, picking up a murdering hitch-hiker, sentenced to a woman's prison or as in today's scene knowing you are about to die. How do you escape what is about to happen? Do you? The noir themes and motifs that I see in this clip, with reference to Porfirio's article, are our protagonist trying to make sense out of his world. "I want to report a murder."..."Who was murdered?"..."I was." Why is he at a police station? The hopelessness of his situation, is he living despite life's absurdity?
  11. Looking out of that small wired window, where everything else is in dark shadows seems like we, the audience, are "Caged" with the women who are being transported to the prison. Where are we stopping? What will it be like there? When are we getting out? This is definitely a Warner Brothers house style film. "Pile out you tramps. It's the end of the line" This is pretty gritty language for the 50's, even in the changing times. Film noir is perfect for a story set inside a woman's prison. Hard-edged, tough, fast-talking criminal women, with a setting that's a perfect set up for dark, shadowy camera shots and angles. With the perfect negative exponent of being "Caged".
  12. Unlike yesterday's clip of two naked legs running down a dark highway towards headlights, we see two legs hiding in the shadows waiting for his opportunity to flag down a car. Once in the back seat, the hitch-hiker's face hides in the shadows until he leans forward and shows his cruel looking face with those menacing eyes. Unlike yesterday, we aren't seeing the fear in a helpless woman, but now in the dread and vulnerability of the two men. We are now in the car with these two men. Feeling that dread and vulnerablility. As the poster said..."Who will be the next victim...YOU?
  13. This opening sure throws you into the action right away. The film comes off as much darker than the noirs we seen before this. A half naked woman running down a highway, frantic with fear, running from something terrible that has happened to her...but what? Jumping in front of a speeding car in desperation for help. So desperate that she's willing to trust this cold, hard, unsympathetic man. I don't see this private eye having the same sense of humor as a Philip Marlowe or a Sam Spade. He does turn out, however, to be a guy who'll play along with whatever it is she's hiding from the police...again, but what?
  14. I saw "The Third Man" many years ago and that haunting zither music pops up in my head every now and then. Hard to forget music like that. Plays so well with the shiny rain soaked streets and Dutch angle camera shots. You can't tell sometimes if the camera if tilted or the streets are on an angle. Incredible looking. Orson Welles does steal that scene. When that light from the window appears on his face... the look, the acknowledgement and then the smile. So much expressed in such a short shot.
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