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Everything posted by swamptours

  1. Karlson shows boxing through cinema as an epic duel between two men who get hurt, bloodied and knocked down. Everything is very kinetic and exciting. With television, Karlson shows boxing as almost static, much smaller in scale and not a big deal at all. Ernie seems to really want to provide for Pauline. The boxing injury derailed his big portion of his livelihood and manhood as well. Pauline is completely toxic and never stops putting Ernie down and puffing herself up. The most notable element of noir in the scene came when Ernie sat down after admitting his boxing career was over
  2. It seems to me that Van Heflin is in a position of power and uses Kirk Douglas to suit his own needs. Van Heflin lusts for Barbara Stanwyck and I would guess he would go to any extremes to obtain her. Kirk Douglas is jealous of his wife and has something that Heflin wants. From just seeing this scene. I would expect murder, maybe blackmail, femme fatale and a love triangle. Gun Crazy really reminds me of the same sort of locale.
  3. The obvious difference it that the couple here are a couple of innocents who just so happen to have a bag of money thrown in their car by being in the wrong place at the wrong time. Sort of a mom and pop have a bag of money tossed at them. The whole deal of going from rags to riches was a popular post-war time theme as it had happened to so many people before. Maybe not to the extent that the couple in Too Late for Tears had happen to them. I think for me that the introduction of the innocents unlike so many other film noirs would really draw in an audience. How many people in real
  4. Hitchcock's rhythm seems much more relaxed. It's as if you know exactly how and why everything plays out and he will get there when deemed necessary. I would say for lack of a better word, Robert Walker comes on as a femme fatale with Farley Granger as the innocent. This presents people in different roles than normal, which is par for the course for Hitchcock. I wholeheartly agree that Hitchcock is a special case with noir. He was presenting and using noir techniques in most of his films. So even though most aren't considered noir, Hitchcock was a major innovator in the field.
  5. The first parallel I see is the use of movement in the Daily Does. All of them leading to a certain doom for the character. There is also the theme of loss of freedom or self. The strongest motif is the insignificance of man. By having someone report there own murder, it is illustrating this to the highest degree. It also point to a society that has become so jaded that someone saying this, is basically being humored. The high lighting and endless halls show how hopeless everything is. Heck, it seems to takes days to get through the police station and they are supposed to be on ou
  6. By having all the action take place in a cage, caged vehicle, we are seeing what is in store for these women. The vehicle also imparts a claustrophobic feeling and shows what little freedom these women will have. The social realism of Warner Bros. works for this film because it really shows what a women's prison is really like. Nothing glamourous, far from it, these ladies are just trying to survive each day. It also shows all the injustices going on behind bars. The substance of noir is appropriate has it is depicting a film dealing with the worst out of people, looking to take adv
  7. One of the major ideas of this movies is fear. The escaped con is using fear to keep the other two at bay. Having your freedom taken away is another theme. Lighting and staging are used to great effect as the con is hidden in shadows, especially his face at the very beginning. Another great effect of lighting is the con emerging from the shadows into the bright light and makes his announcement. Also the use of the flashlight to highlight what the con is looking at. The staging has the two men in the front and the con in back at all times. Both movies are similiar in that they both
  8. A major theme is the damsel in distress. She will draw Mike Hammer into a ever escalating situation. We learn Christina escaped from an an insane asylum. So we don't really know what to thing about her. She could be crazy or it could be a frame up. Spillane is the private detective to the nth degree. He is so hard boiled, but he has to be for this story as it is so amped up. The backward crawling credits and the detective almost literally running into trouble.
  9. Harry Lime's entrance is so effective in that he is framed in total darkness only to have a woman oper her window to reveal Harry and the coy little smile. The realistic touches come from the location shooting and people such as the policemen approaching Joseph Cotton as crazy. The formalist touches come from the lighting off of wet cobblestone. Also, the overpowering zither music and very subjective camera angles.
  10. John Garfield's entrance is unassuming and humble. Which is what his character is like. On the other hand, Lana Turner almost explodes with sexual energy. She is probably the sexiest femme fatale we have seen so far. This is a woman who is used to get anything she wants by any means. Obviously the femme fatale and the sucker are the main noir elements. The film seems to have a much glossier look to it and the budget to go along.
  11. Peter Lorre enters as a man down on his luck. Greenstreet enters as one fully in charge asking all the questions. As they interact, it comes down to a meeting of two equals, each wanting answers from the other. The biggest thing to me was the extreme closeup of Greenstreet filling up the screen. After this Lorre is shown filling barely half the scene. When compared with the other films Greenstreet also seems to be in power only to have it taken away.
  12. The scene uses the noir touches by having most of the action happen indoors where there are shadows everywhere. There is also some shadows used in the sunlight. From just the scene alone, Jane Greer seems to be the femme fatale and Mitchum seems to be the one likely to take the fall for her. The most important aspect is the one listed above. Using noir techniques in the daytime.
  13. Bogart as Marlowe seems to be more cerebral. You can sense him taking everything in and analyzing it. We learn that Marlowe went to college, got fired from his last job for insubordination and that he is a private detective or shamus. Spade seems to survive more by his instincts and plays rougher than Marlowe. The opening of The Big Sleep contributes to film noir in establishing the layout of the film right from the opening. There is no wasted energy.
  14. Throughout the beginning of the clip, everything is presented in an upbeat and optimistic way. Basically, work hard and the American dream will happen. At the very end of the clip the lighting goes dark as we see illegal immigrants sneaking through to the US. This shows an unwanted element that will inevitably lead to danger. The documentary style contributes to show how this could happen to you. Everything seems so realistic that we can believe the events we are seeing on the screen. Also the voice-over became a big part of film noir. The most important contribution is the interjec
  15. From German Expressionism I see the use of shadow and light and also a sense of fatalism. The music also plays a large part in the film. At the diner, everything is portrayed in realistic fashion with no music, realistic lighting and editing. When it switched to the Swede's room, there is music, moody use of lighting and more editing. An especially important contribution to the genre is the use of realism. Also it is yet another film heavily influenced by German Expressionism.
  16. Gilda performance is uninhibited. She is showing everyone including Johnny was she is and what she can do. Also, she seems to be drunk or high which make it easier to do such a thing. I think the main thing shown is control or the battle for it. When Gilda is performing she has total control for that part of her life. Otherwise Johnny is controlling her. Performing gives Gilda a release she gets nowhere else. Music contributed to film noir in setting a mood or a feeling. Also, music in film noir seems to add to the overall look of the movie. The music comes across as an integral
  17. The noir comes from showing the worst in people. Film noir always has these characters. It's even more effective in that it is Joan Crawford's daughter who is such a horrible person. It's is different in showing two women going head to head than normally occurred. For most of the scene Joan Crawford is always in a higher position. Perhaps as she has higher standards and morals then her daughter. The close ups come when they are at the height of their fighting with Ann Blyth saying terrible things. The important thing in Mildred Pierce is to highlight how bad someone can be to someone
  18. Both M and Ministry of Fear use a constant rhythm to establish a real feeling of dread. It's not if something bad occurs, but when. The clock constantly moves on not caring what occurs. The dread the clock inspires really gives off a feeling of hopelessness. The strongest contribution to film noir is the fantastic use of shadows and also the introduction to a sick possibly evil person.
  19. I think that this private detective does whatever needs to be done to get the job. No one person is above the law and he will not rest until justice done. If he has to cut corners or play rough, it is no problem at all. This kind of detective is the seminal one in most film noirs. Basically, most films used this type as the blueprint private detective. Humphrey Bogart was exceptionally good at this type. I think that the strongest feeling is the reliance on intimidation. He does not go easy on the woman at all. This was a major departure for most films.
  20. I think Nino Frank's assertion in large parts rests on one Lydecker and his profession. He is paid to remember what he sees and that includes furnishing and faces. Also, McPherson falls into that as he goes deeper and deeper into love with Laura. This includes his fascination with her portrait. I like how Preminger introduces Lydecker as the quiet spectator quietly taking notes on McPherson. Old habits die hard. Laura uses the femme fatale in Laura, the hard boiled detective in McPherson. There is also suggestive lighting and shadows which comes into effect even more.
  21. I feel that the POV was successful in that it let you see the reactions that others have to Bogie. The guy that gives him a ride starts off as easygoing but becomes increasingly suspicious until the radio broadcast when Bogie beats him up. Also, the use of the internal monologue was also successful in setting the mood. Most important is the POV, while not used a lot it does seem to be effective in noir. Also, this one was set in the daytime, which is a nice change. Most everything is out in the open. Paul
  22. The really surprising thing is that the murder takes place at the beginning of the movie, is shown in vivid detail, and the calmness with which she deals with it. It seems that women were rarely depicted in such graphic nature. She becomes the equal of men in being able to commit acts of violence or murder. I love that the moon vanished for a few seconds as if to blot out the evil deed only to come back stronger and really shine a light on what happened. This also seems to bring her back to reality and she starts planning accordingly to get rid of the evidence.
  23. I think that the realistic use of the train sets up that this film will be realistic as well with no happy endings or glamorous people. It's as if the train is set on a course, so are the people in the movie. I love the use of complete darkness which really sets up dark moments to come. I also love the use of no sound as everything is communicated through body language. These two men are so comfortable at their job nothing needs to be said. I think that use of or absense of light really sets the mood and contributes to the film noir way of shooting a movie. Paul
  24. I think that the most striking image is of Peter Lorre's shadow over the wanted posted for murders committed while going after another child at the same time. The use of shadows in this shows this to be a percusor to film noir. There also seems to be a strong undercurrent of paranoia and claustrophobia. It seems like the whole city is going to explode. Also, I did notice the sounds that seemed to break the silence in many occassions. Peter Lorre's whistling also fits the profile. Paul
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