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


  • Content Count

  • Joined

  • Last visited

About I_Am_A_Camera

  • Rank

Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

59 profile views
  1. I agree 100% with KaryntheRed. The 1938 Reginald Owen version is the lightweight "Hollywood-ized" version which pales in comparison to 1951's "Scrooge" described by Leonard Maltin as definitive. It doesn't matter to me which version I've seen first. I'd rather see the more substantial movie. The broadcast list is surprisingly lightweight in general and rather unappealing. I'd rather see the definitive "Scrooge" and can easily pass over this year's schedule. It's sad that a better roster wasn't considered for such a disastrous and awful year.
  2. Leslie Crosbie is one of the 6 best Davis roles. I've seen the film a number of times over the years simply to revel in her great performance. Thinking of it in terms of noir makes me notice first the small rubber bucket spilling over which hints at the violent explosive action to happen shortly. The larger slowly filling bucket represents the wronged native woman whose resentment and resolve to exact vengeance is slowly building in great volume. This hints at the inevitable punishment theme in noir. The langorous heat and sweat symbolize the lust that drives Leslie to commit the murder
  3. My first reaction is that the men are not truly comfortable with their work. It may just be working man's bravado and camaraderie. In fact, several of the actions seem to require a struggle and brute strength. This is a huge and at the time modern powerful beast that they were struggling to bring to speed and to slow down. It's as if they are wrestling with the uncontrollable trappings of the modern industrial age. The powerful beast is ready to destroy them if they slip up. The human experience of a train is almost overwhelming in its power.
  4. From an art history perspective, I immediately see German Expressionism in the jutting angularism, strong lines, long shadows, weird moody shadows that seem sick at noon, and alarming slashing strength. I react strongly to the surprising athleticism of the camera work - it's very supple and almost invasively prying and spying into the bleak existence. The camera's prying seems as unnerving to me as the murderer's shadow. The robust camera becomes almost another symptom in a sick society.
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...