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Shuh

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  1. Considering what I've seen of Harold Lloyd as compared to Keaton and Chaplin, Lloyd seems to be more of a 'straight man' who inadvertently becomes a victim of circumstance, and he uses the Coney Island settings to present a string of new circumstances. Repeatedly, things happen to Lloyd and set him up for some kind of payoff. He is passive in these situations, whereas Chaplin and Keaton were both actively setting the gags in motion. I do agree with Schickel's assessment of Lloyd as freer of exaggeration. The fact that Lloyd is a 'straight man' gives us little insight into what may hap
  2. I think the documentary style establishes a sense of realism that the viewer can identify with; it's a tool that may make the story we are about to see be more relevant to us. What you are about to see is based on fact, not fiction. It's not just movie escapism, and it will seem more significant to us because its linked to who we are at a national level and how we live. The documentary style connects the viewer to the story. It only takes a few words towards the end of the clip to tell us that we may not immediately know who are the bad guys and who are not, on either side of the border,
  3. Marlowe is introduced as his own man. Contemptuous of his college education, he quips that he can still speak english. He was fired for insubordination. These things we learn after he has responded to Carmen Sternwood with amusement, tolerance and good humour, as well as a dry wit in his comment to the butler about weaning her. Observant and impartial until he's made up his mind, Bogart wears the Marlowe character well. We see a straight shooter, a forthright individual stepping into a house of contradictions. In contrast to the Sam Spade character played in The Maltese Falcon, Bogart'
  4. Noir elements; The use of strong light and silhouette; the movement of characters from bright light to shadows; a dialogue that's almost coded, but the characters seem to understand each other. The scene closes with a promise of the two meeting again, a psychological tease. It's almost like Jane Greer's character, Kathie, is testing Mitchum's character, Jeff, to see how serious he is about getting close to her. We learn that Kathie's fleeing something or someone; Jeff is on a job to find her, and by his impassive dialogue, we understand he does not care a whit for his prey - until he sees
  5. Garfield's entrance is as a guy who doesn't like where he's been and doesn't know where he's going, a personality adrift, vulnerable. Turner's entrance is stunning. She knows how to use what she's got, and when Garfield tries to show strength, she knows that she's got a nibble and just needs to set the hook. Which she does. In case the audience didn't get that Garfield's goose is as good as cooked, the hamburger patty is burned and into the trash it goes. A metaphor for the fresh meat that's going to get wasted by film's end. Noir element: Vulnerable but not without merits guy meets obv
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