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betteD

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  1. As I watched Jane Greer enter, I thought " out of the sunlight into the shadows." She's a self-assured woman who doesn't fall for flattery, says what she means and cuts to the chase. She also knows she's alluring and throws Robert Mitchum a crumb (..."I go there sometimes."). Mitchum, on the other hand, is clearly susceptible to her charms and his facial expression and body language (see how he drops the coin) tell me that he's going to get in trouble behind this woman. The scene uses a film noir technique we saw in Hollow Triumph/The Scar: use of the cantina tables' ceiling lights. The 1st
  2. The nod to 1st person was Bogie's hand on the doorknob in the opening seconds. The dialogue is so noir: crackling and witty and a little naughty. I love "you ought to wean her, she's old enough." The way Bogie plays the part gets the audience on his side from the beginning. He's been around the block (does anyone else think he looks older than 38?) and he's no pushover, but he's amused by the childish antics of the Sternwood daughter and takes them in stride. But when he speaks to the General, he seems genuinely sympathetic to his situation and shows him a great deal of respect and honesty.
  3. I don't get the feeling from the opening scene that this is a film noir. Based on the opening, I'd expect to see another cops and robbers chase or prison break out story. But the POV makes the difference. It's successful because it pulls me in and makes me want to know what this man looks like. However, I can only take POV in small doses, which this movie handles effectively. Any more reliance on POV, for me, would be very frustrating as it was in Lady In The Lake. The scenery and background are bright and sunny, not dark and shadowy. So it's a good thing I'm taking this course, I need to lea
  4. I think Bette Davis' character contributes to the femme fatale mystique: the audience is immediately drawn in by this woman. We're repulsed when she shoots the man in the back and calls it an accident, but she's so intriguing that we can't wait to find out more about her. When she looks up at the moon, I see defiance in her eyes - she's not afraid to be in the spotlight because she feels that what she's done is right and therefore, she has no remorse. I see the plantation a little differently than some others have noted. Although the workers' quarters are sparse, they're not dilapidated shac
  5. I haven't seen this film yet, but the opening sequence is exciting. As the train races forward, I feel like my heart is beating faster. The photography and sound are so good, I can almost feel the wind. When the train slows down and pulls into the station, the introduction of the music tells me this is the beginning of the journey, not the end. The two men stick their heads out to look for dangers ahead and this could be a metaphor for looking out for each other in life. At this point, the men are equal partners. And they're both covered in grime. Film noir can be grimy too, so there is a co
  6. For me, the opening scene evokes feelings of foreboding and struggle and love. We see hard-working people trying to live their lives against a backdrop of unspeakable danger. I agree with the previous comments that the children's innocence inoculates them from the lyrics of the song they're singing. I like how Lang juxtaposes adults who hate the song because the reality frightens them. I'm intrigued by the comments about the mother. I agree that there's irony in her setting a nice table, but not going to pick up her child from school when there's a murderer on the loose. Great observation! I
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