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Noirnado

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About Noirnado

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  1. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? To start this appears to be a tense scene were there are 2 rooms, one with a party and the other where men are talkin. The women dancing gets more frantic as the tension grows. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. The use of the dancers mimicking the anger of the boxer, along with the use of instruments overlapping continues to show the fast pace of the boxers anger which culminates with the record player spinning as the boxer starts to loose it. 3. How does Hitchcock stage the action, use set design, and editing techniques to increase the stakes in the rivalry between the two gentlemen? As stated above the different techniques as the frantic dancers and the use of the instruments to show the growing anger of the boxer and the mirror and overlaps to show his delusional state.
  2. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Both openings start fast and draw you into the story. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? The fact that there are so few title or speaking cards allows the story to flow and this world to develop. Instead of a speaking card he uses the teletype to keep movement to flow. The use of blue tinted film to not only show that it is night but a dark and dangerous world. Along with the use of fuzzy shots of the crowd. 3. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? The opening scream is reminiscent of the opening shot of Rope. It sets the tone for the film and gets the audience on edge
  3. Last day of Summer Of Darkness, working from home so I can have it on in the background. Looking forward to the heist films tonight especially Brute Force! Never seen Party girl so hepefully I can catch that one as well.
  4. I absolutely agree, I was lucky enough to see both on the big screen at TCM fest (Cry Danger a few years ago) and both of them at this past Noir City KC.
  5. If we are making recommendations. I would say Cry Danger with Dick Powell and The Prowler with Van Heflin and Evelyn Keyes. Both are little known Noirs that the Film Noir Foundation saved and restored.
  6. What can I say about Criss Cross, it is one of the great noirs, right up ther with Gilda and the Maltese Falcon. Also, the close-ups of Yvonne De Carlo - best use of film ever! Noir themes in the opening scene is the over head shot of the darkend city, \cutting the couple in the parking lot embrassing each other, only to find that the Yvonne is married to Dan Duryea, Right off the bat we see a love tryst and we know Mr, Murphy is going to step in... I just don't want to give too much away.. I'm feeling a bit saddened that this is the last daily dose and our collective look into noir is coming to an end. It's been a great Summer Of Darkness. For me, I think the best part of the daily doeses are reading what others impressions are- from the messages of the experienced as well as the novice. I hope that many of you have developed a better understanding and appreciation for film noir and how truly wonderful they can be.
  7. Existentialism in film - Hell is...... As Sartre wrote "Hell is other people" and going by this clip if you are Sam Levene's character you would have to agree. The hopelessness of the scene Sam is tied down and knows a beating is coming unless he gives up information. The tention builds as the Wagner is turned up and the rubber pipe is brought into view, we then cut to the other room and can hear the beating begin as the other officers become uncomfortable (as they should) we then are brought back to a bloody Sam. We then get the hopelessness of the Hume Cronyn chacter as he does his thing to stop a breakout of what is perceived to be a dangerous criminal. Hume gives it all he's got and is not better off for it. Overall the scene has no up side and is just utter dispair. Hell is....
  8. Poor Raymond Burr, he just wants his hiests to go according to plan. A couple of things that make this a stand out scene. First is the fact you never see the blows you can hear them and some how that always makes it worse. The other is the swinging over head light and the way ii rotates through the scene causing light and shadows through out the end of the scene,
  9. Don't have a lot on this subject. I can say the music in the clip reminds me of Harlem Nocturne - (The Mike Hammer T.V. series theme) Both are very haunting and almost risque, much like the films we are discussing.
  10. It is nice to see an opening to a film I have not seen yet. The film throughs a lot at you in just a few minutes. The noir themes and elements are; a crime - the dead body, man on the run, the opening is a bit light but uses the long over head shot of the train yeard along with the quick cuts to Ryan and the wheels. As far as the Salvation Army playing, my quess is a set up that everythiung is good and ok in the world, then you ge tthe dead body and the race in on.
  11. The use of the written dialog scrolling on the screen creates a style of voice over (at least for me) As it goes we see key words that clue us into what is going to happen in the film, The term perfect crime is used to grab attention and it does work and I get drawn in and want to see that happens next. Also in this scene we see that time is going to be a major star of this picture, from the outside clock to the wrist-watch used - they get more screen time than any credited stars to this point. We "the viewer" are taken into the what looks like the planning phase of the heist and start to get the sense of what goes into the planning the perfect capper. However with this being a Noir, I can't help but want to see when Mr. Murphy and his law show up to put a wrench into the planning. Can't wait to sit back and watch this movie.
  12. Working from home again this Friday, and unfotuately, I am on call so not sure how much I will get to see today. Iam hoping things slow down so I can watch Red Light and The Hitch-Hiker later this evening!
  13. All four of the daily doses this week share a few themes. Main character being hidden - whether by a shadowy backseat or just seeing a back walking down a dimmly lit corridor. The background music is foreboding and on the edge of eerie. There is no build up you are dropped into the action and better hold on as it is not going to get any better. All four of these "opening scenes" grab you and make you want to watch what happens next.
  14. Lesson number one NEVER pick up hitch hiker! Ida Lupino masterfully sets up this scene from the lone car driving down the highway at night. The way you only see the legs of the man in the shadows to build tention. The complete darkness of the back seat and the character has to move to highlight his face and gun. To the wsay the hitch hiker takes over and becomes the focus of the scene. The tough guy talk and the way he says his name makes you believe he is someone you should know and avoid at all costs. Makes me want to call in sick and watch the whole movie today...
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