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stynxno

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  1. What a great scene. I see a lot of the inherent tension between the image of Gilda and her own sense of control. She might be drunk, sure, but she's totally in control of what happens here. Her dancing isn't on point but she knows what she's doing. And when there's the mad-dash from the audience to disrobe her, she's the one in control and she's the one inviting them to take care of the zippers. The fact that very few folks in the audience seem to stop (or discourage) the action (even dates of some of the men) show that Gilda is flexing her sense of power and purpose. When Johnny slaps her, he
  2. I totally agree with this. The use of shadows, the playing around with who's in control of the scene through the use of standing and sitting, going up the stairs and down, and the use of music to heighten the tension within the conflict. Film Noir is as much a visual experience as a play with plot and dialogue. Film Noir is meant to me seen (imo), heard, and experienced.
  3. The clock is fantastic. By starting close, focusing on how loud it is (and adding dramatic music), tension automatically fills the air. We know something is up! But then, when the camera pulls out, and we realize how quiet the actual room is - that sets up an awesome contrast. The rest of the clip is quiet. But we know that the protagonist isn't. Even in a quiet or in noise, Neale is the center of turmoil. We're setup to carry what we know about Neale wherever we go, knowing that the silence and calm around him is not something he carries within him (or that he'll experience once he's somewher
  4. I agree about the best film noir taking us to the boundary between good and evil. Marlowe's not afraid to admit his personal involvement in the case. This is more than just trying to find a solution; this is vision of how cases impact, change, and are solved by folks who get emotionally, physically, and spiritually invested in what they're doing. I feel like the majority of cop shows right now are all about this reality but they struggle to get past the inherent distance between a person employed by the government to solve a case and a private eye who doesn't have the luxury of an institution
  5. I really like the opening because it reminds me of what I do whenever I wait in a stranger's house: I look around. The detective jumps around, moving from piece to piece. There isn't any in depth study of any one particular piece until he grabs at the piece of crystal (I think) in the case. Once he starts to disturb what's around him, getting his hands on one of Waldo's pieces, that's when Waldo breaks the observation and engages. He says at the end of the clip that he doesn't bother getting into details - but when the detective bothers with looking at the details, that's when Waldo breaks the
  6. I'll admit that it's hard to disconnect current experiences of POV with this film from almost 70 years ago. With GoPros, iPhones, it's easy to see POV and craft our own POV experiences. The movements aren't totally believable (because we know how to do them better now) and I kinda felt like the driving scene went too...quickly. The rapid fire questions is too quick. Though maybe that's a setup for the rest of the film (I haven't seen it so this is all I have to go on!) I'm not sure if POV added to the film - but when I've only seen 4 minutes of it, I really don't have much to go on.
  7. What a great opening. What I love was how no one responded to the first gunshot (except the music stopped). But it's only after the 2nd and 3rd that people started to move. It's setting up a world where darkness, violence, and gunplay is normal - but excessive shots are worth notice. Also, the way Bette Davis looks at the moon when it re-exposes what she's done is priceless.
  8. I, like others, compared this opening to M. Where M had silence, La Bete Humaine, is all about noise. The orchestra doesn't show up until the train starts to slow down. Before then, it's the whistles of the train and the conductors, the clanking of tracks and the pounding of steel by the conductors, that fill the air. I also really liked how, in the shots along the wheels, that the noise seems to overpower the audio pickups. It's like a giant white noise, blocking out everything else. I get a sense that there's something overcoming and powerful that is going to impact the actors, that's going
  9. The first thing I noticed what was I wasn't hearing. The initial image reminded me of a city but I didn't hear cars or honks or the sort. I heard nothing - and then children. The absence of sound, I think, sets the stage for foreboding. We're at the mercy of the director and the movie - without even the sound of munching popcorn to connect us back to our own reality. So when the children start singing, the silence is pierced by a high pitched song of death and violence. The silence is full - and tension filled and is like a shadow ontop, or maybe underpinning, the rest of the shadows in the fi
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