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Borisuz

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About Borisuz

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    Malmö, Sweden
  1. Possessivness and betrayal and foreboding doom served in dark shadows on a parking lot and in a nightclub underlined by the musikal score. The bitter relations and desperate expectations played out in depth in just some few lines. Excellent! Long time since I saw this movie. It is a favorite! I think these Daily Doses added a lot to the course. It "forces" you to read and share opinions on films which somewhat helps to overcome the negatives of an online course. Besides it has ben a lot of fun! I have enjoyed this course tremendously and learned a lot more than I imagined given the time frame and effort necessary to follow it. A clear sign of a very very clever set up! No murky shadows and no bad mood there :-) Thanks a lot from Malmö, Sweden!!
  2. While most music is written to be performed this jazz is improvised and thereby "delivers" to the content, the expressions, in the film and when it does this best it enhances the emotions and moods experienced. By adding this emotional layers to the film it it can support some of the core themes of the noir, loneliness, tension, doom.
  3. A man who probably, apparently, is taking any job he can get and does not have anything that binds him to the city is trapped by the most unfortunate situation. His temporary employers' dramatic death. No witnesses and therefore he is very much the possible killer in the eyes of others. A victim of circumstances. The Salvation Army appearance introduces the harsh reality of the times. You are on your own in hard times and this is underliined by the angles, the running over the train tracks and of course by the panic the man expresses.
  4. I would say the dialogue is the hard boiled biting variety; a "dame" that is "strictly poison under the gravy". Parody, burlesque? Well, hard for me to say, but yes, I guess so. I like it, I want to go with them in their mission. The lightning (contrast, shadows), angles, the train sound (no music though), the announcing of the femme fatale, hard talking detectives builds the noir environment. Without dramatic music and with the almost funny bantering between the two men I do not, as in many of the other clips, have the feeling of a foreboding doom announced. Not yet.
  5. Time and timing adds to the tension. Especially when what is timed is the activity around a bank with a musical score announcing drama. The noir feeling is besides the music announced by the angles and by the "normality" of planning a heist. We are on the criminal side of life. On the verve of sympathizing with a heist (?) we are drawn in the the noir world.
  6. We are moved out of an immense experience of "now" (movie theater) to a distant experience of the past (television). As somebody else wrote "The art of the shot is lost". The american dream crashes bloodily down on the ropes in the (symbolic?) constraint of the boxing ring. A dream of a suitable good life may very well be running a gas station but it is apprehended as a downhill path by the one who put her beauty at stake for the imagined big money prize fighter. There is no turning back of age, so there she stands looking in to his smashed face, a reflection of her lost future. A hollow vision built on shallow and passing attributes, The show beauty and the knock out beast have a best before date. With a bit of luck, a success story, the american dream. Now shattered by overblown imagination, supported by a whole nations dreamy aspirations for the individual and the family. They are soon to be forgotten debris in the dead end street of crashed careers, exchanged by new contenders for the (materialistic) throne. All this very much caught by the bracelet bickering. We have a feeling of dread, ignited by the woman, life is harsh, society grim and there is, when it matters, no way out. Or?
  7. Like in Out of the past, Killers, the setting is a town where everyone knows everyone. The arrival of a flewn bird (hawk?) is most unwelcome for his childhood "friend". There is a fast moving power transformation between the men leaving Walter in the dreary dust foreboding worse to come.It is very much accentuated bu the arrival of the wife, picturing the intimate relationship by the whistle and hugs with the bystanderhusband dwelling in the background, not enjoying the scene, on the contray and we feel it all the way. Some (curtain) shadowplay, the angles, the foreboding doom, the hints of betrayal, the woman as the centrepoint vertigo of the bad things to come are noirish themes.
  8. A domestic quarrel drenched in a suspense mood by the music and darkness. The headlights of the mystery car announces that something is going to happen and then the action kicks in. The "ordinary" wife with a social hangup takes the minimal window of opportunity and transforms in to a riveting "femme fatale". Not by a seductive attitude but by dangeorus action, with a cunning smirk, no less. I like this opening! A post war abandoning of social values, take any chance you get, the life is hort and you do not know what happens next. Opportunities are to be taken. Freedom instead of responsibility. No hardboiled main role man, yet, but several noir elements in play. The music, the usage of light/darkness contrasts, the fatalistic action, build your own moral, which could lead to doom.
  9. A slow buildup slightly hinting a tension between the two men is a different opening to the more dramatic ones of the previous noirs. No gritty harshness presented, a lighter musical touch, not foreboding doom and a less expressionistic play with shadows further distances the atmosphere from core noir. In Hitchcock films you usually not have any feeling of the grim realities of society, it does not creep in. Noir maybe does not do this clearly either, but it works as a background, the world is not beautiful. Hitchocks films is often about the devilishness and the horror of the indiviual(s) where the society outside of that playground does not interfere, has no meaning. The angle play and criss crossing staging in this film is not enough, I will say, making this scene a noir. Not so sure of the mise-en-scene contributing either, a no-noir director like Douglas Sirk is, to me, as distinctive. Long time since I have seen the movie maybe it advances the noir feeling later on. Come to think of it, long time since I saw any Hitch, so time to dive in and then maybe revise the above...
  10. The entrance of the main character is soaked in darkness and shadows accentuated by the dramatic music score of doom. The way he walks, the way he talks announces the end, the non relation to a life of hope and opportunities. What choice and opportunity do a lonely man doomed to death have? The only order, only choice, is marching through those bleak corridors to the inevitable clarfifcation of the end. As a viewer I am very curious to get to know what is going to be revealed, but at the same time very much aware of that i do not, really.
  11. There is a truly bad bleak feeling, accentuated by the music, of looking to the bright outside through bars and even from some distance. Caged womanhood, no turning back? A reflection of being a grown up woman in the 40s 50s? When the shadow breaks it reveals the desperation, angst, by the trapped innocent. WB style, being a realistic urban setting seasoned by the tough cynical attitude. You look for a hint of sentimentality relief but that is overshadowed by the eyes of angst, underlined by the "grab a last look".
  12. A beginning that sets the mood of despair and doom from start. By lightning and shadow effects what is revealed is evil. The gun, the face in the same slowburning dramatic way. We are caught by the raw unease tension, it makes us feel bad, expecting the worst. Brilliant. Sad noirish message, do not trust anyone, especially not strangers. We can feel the hudlums' disrespect to life, It is worth nothing. The bypassers do not, to our knowledge, in any way deserve what is coming to them, maybe not so noirish? Somebody else did mention this, noteworthy, but then I haven't seen the whole movie.
  13. A rough talking but gentle acting man is picking up and protecting a desperate woman in one of the strongest openings of any film I have seen. The interaction between the sweet music and the desperate breathing is powerful. Based on the opening I do not have the impression of Hammer being one of the most cynical noir detectives around a, gentleman despite his sly talking. In action he is doing all "good". Some of it to take care of the woman, some may be as an anti authority action. Sheltering a woman who have no clothing except the trenchcoat, acts wildly, suicidal, and is apparently a "lunatic". The roughness of the scene builds both a superrealistic impression and an enhanced formalistic feeling foreboding no good. A feat in itself.
  14. The outdoor scene reveals Garfield as a "streetsmart" man, accusing the cop and dropping a petty life philosophy remark on itching feet (won´t stay). The lipstick/shadow play (noir then) reveals the femme fatale. She gives in to the first battle, knowing that her looks and her gaze paved way for the, if wanted, final "win". Somewhat surprising that Garfield plays the macho directly, no manners :-). The lost hamburger adds some relief to the tension of the scene. This to create dynamics of the experience of the film, to get a dedicated public, if successful. We do not yet know the relations between the gas station man and the woman so that is for now open.
  15. Wouldn´t say that Lorres entrance is "dramatic". It si the stae of the room that invites the tension and then Greenstreet makes the dramatic entrance, enhanced both by Lorres mumbling and casual style. Even more heigthened by the framing and lightning, from the shadows to the light, an imposant imposter. The angles of the camera and the positioning of the actors underlines their different roles, maybe not so exclusively noirish but part of it. Same kind of scene/s in Maltese Falcon as I remember it.
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