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About RichardW

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  1. I experienced the same thing. In the "Help" section there are several Notes: Notes: You cannot download ePub files for concluded courses. If you can view the Download Course Content button but cannot download an ePub file for a specific course, the feature has not been enabled for that course. If your account does not display the Download Course Content button, your institution may only allow you to export content offline as an HTML file in Modules.
  2. What a great opening clip and introduction to Hitchcock and the Daily dose. I've seen perhaps a half dozen or more of Mr. Hitchcock's movies and I know less of Mr. Hitchcock than I did of film noir prior to participating in the Summer of Darkness course. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. I dunno. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? I dunno. 3. Since this
  3. It's so sad that Noir City will not be returning to Seattle again. We may have to plan a road trip. Does anyone know city and dates for Noir City besides SF (I did not see it on the web site)?
  4. I read somewhere that the producer of Beware My Lovely, Collier Young, used a Hitchcock technique of appearing in a scene in all of his movies. Supposedly, as Santa Claus manning the "kettle" in one of the scenes from Beware My Lovely.
  5. I agree -- the symbolism continues with the water pouring into the pail in the sink and (steam?) rising. I see trouble brewing and am anxious to see the rest of the movie.
  6. I had not read the Prof's notes prior to viewing the Narrow Margin clip (whoops!); and while I was glad to see Charles McGraw (my first introduction to him was the great supporting role as one of the gunmen in The Killers), I did not realize he and his partners were detectives. In retrospect, they could have been on either side of the fence although analyzing the dialogue closer shows where they were.
  7. I agree that Maltese Falcon (or the Big Sleep) are obvious choices, but I wonder if the age of the viewer may influence the "new" viewer(?). Our kids could not quite get over the fact of watching movies in B&W, so I agree with your suggestion of LA Confidential (or Chinatown) as an introduction to neo-noir that might introduce the viewer to the concepts.
  8. The missus and I attended the matinee screening of Double Indemnity at the nearest Seattle-Tacoma theater yesterday -- a good excuse to get out of the record-breaking heat and into the air-conditioned theater. I have seen the film several times and at least once on the big screen, but it is always great to see a clean print on the big screen. It was a first for the Missus --she had not seen the movie and loved it. Unfortunately, less than a half dozen others shared the pleasures. Most theater attendees were there for Ant-Man, which apparently is okay for families (it is PG-13). Do you recall
  9. I, too, just watched Raw Deal and felt that it was a great little movie. One thing that struck me was that the quality of the print was not nearly as good as the generally high quality of prints that we have seen in "Summer of Darkness". I would really love to see the cinematography of John Alton in it's true "colors" . Any info on possible restoration in the works?
  10. I've seen Mate's D.O.A. before but this time with a different outlook -- Frank Bigelow striding purposefully down the long hallways with the powerful, striding orchestral sounds in time with his gait, the camera following closely behind. And yet his message, his story, is revealed within 3 minutes --soon to be over. Looking forward to watching again!
  11. Not a major character actor, but --as pointed out by Eddie Muller in his post movie comments on the High Wall --Frank Jenks played an (uncredited) supporting character who was an essential character serving to move the plot along at a point where the writers had painted themselves into a corner in the development of the story.
  12. I, too, am glad for the break but am also missing the Daily Dose. I guess this is good practice for next month when the course is over I know the podcasts of Clute and Edwards will keep me busy for a while, but ....
  13. I also agree -- what I find really objectionable is that it does not do justice to Raymond Chandler's book, a wonderful (well, wonderfully told) story. Just ONE MORE movie that does not match up to the beauty of the book, in contrast to others, such as the Maltese Falcon and the Big Sleep.
  14. Hmmm .. from our homework ...Chris Dashiell's writes, "...the studio era doesn't differ that much from today, except that the supposed profile of the mass audience being catered to is now a good twenty years younger, and apparently illiterate."
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