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StewartBAM

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About StewartBAM

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  1. The film noir style shows in the aerial shot in the dark with only the lights of the city as the camera closes in on the parking lot from above and down to the car driving into the lot and shifting as its lights illuminate the couple as they kiss between the cars, randomly lit up as they try to hide in the darkness. The substance is the two who are hiding, desperate to get away from their situations and making plans to run away together. The feeling of oppression of her situation is evident, her hope to make the past go away in hopes for a better future and his need to help her escape increase
  2. The fact that the music was chosen by the character, not just music-over, is telling along with the picture of the wall and the plants in the window box. These elements are have all very Nazi overtones. As a matter of fact, Wagner is the musician most identified with Nazi Germany, his music often used in the concentration camps as a form of torture for the prisoners and show of strength by the Nazis. Although he died 50 years prior to Hitler's coming to power, Wagner wrote extensively about his hatred of "Jewery" and support of the growing German nationalism. The strings in Wagner's Overture
  3. This is pure art. By using the swinging light and light coming from below, it heightens the feeing of danger and suspense. Everything is off balance as the light swings and we see on camera and eventually hear Steve being beaten savagely off camera. The close-ups of Raymond Burr and his fist and the bottle make our focus on the threat that the fists and glass pose to Steve and his new bride. It is the threat of the bride's safety and possible disfiguration by Burr's character that finally persuades Steve to go to police and do as he is told. The darkness of the room and the strange light that
  4. This scene opens with the police car turning onto a deserted street as the music behind is suspenseful and the police radio is heard with dispatch calling different cars in the area to different crime events. There is no life evident except for the man seen walking alone. The streets are quiet and the camera shows him at a distance with a great arch behind him. The unnamed city could be anywhere. He hides behind a pole as the police car passes. He does not want to be seen, however he still seems nonchalant in his walk. We see the police car as it continues down the road and the dispatch tells
  5. The shot begins with an extreme close-up of the woman, seductively speaking into what looks like a payphone to a man telling him, "I'm the one who cannot take it anymore... I love you." She then proceeds to talk him into something we are not sure of. Her body language makes love to the phone, caressing it, rubbing her face on it as if it were the man himself. The camera changes to the man standing, in a room, holding the phone as if he is holding her as he professes his love of her, as well. They repeat I love you, almost like a chorus of a song as the Miles Davis score begins, softly and begi
  6. That's what happens when I write four in one day! Trying to catch up. Sorry! Yes, I meant John Payne rather than Robert Taylor!
  7. Oops, I forgot to mention that I was struck by the reversal of roles. Here was a man cleaning, mopping, etc. and doing work for a woman in her own home! Also, the irony that he is the "handy man" and with the murder of Mrs. Warren is possibly going to be the "handy patsy" that is going to be blamed. That is why her runs. He knows he's been set-up. The hammer that he puts in the drawer will probably be the weapon that killed her and the money, ($5 and the note with his name on it), at the time was probably more than he was due. These is a clue that someone other than Mrs. Warren had a hand in
  8. The film noir style and substance are really obvious in this opening sequence. The Salvation Army band plays so prominently with the cymbal shot reminding us to pay attention to symbols in the film. The social commentary of the Salvation Army and the "Keep the Pot Boiling", possibly a request to keep film noir going or is it just a warning in the film that someone is "in hot water" and isn't aware yet! The fabulous screen shot through the window as Robert Ryan tries to get unsuccessfully, the spot off the glass and the To do list, as well as the Salvation Army focus earlier, introduces us to
  9. The opening has the train whistle sounding over the RKO symbol. Another train movie, but then it opens and it is immediately in your face - the light of the train coming at you, almost blinding you. Yes, another train movie, but this one is going to be all out, it seems to say. The train begins to slow as the credits roll and the sound of the clanging bell and the wheels slowing as they come to a stop at the station. "Your attention please..." is the first dialogue we hear as the two men get off the train and light their cigar and cigarette, a typical noir convention. Everyone smokes - all the
  10. The role of time and timing is everything in this movie because it is a planned heist that relies on precision and the predictable routines of the people involved. The man in the window times everything, checking both the clock on the building and his watch. He checks off the comings and goings of the armed car, the officers and the florist delivery truck and man. They have obviously done everything the exact same way every day for a week as his checkmarks on his page show. The man thinks because these things are so predictable, his chances to intercept are good, however, as we all know in fil
  11. The scene opens with the boxing match where Ernie goes down for the first and evidently the last time. The camera angles are close with emphasis on the faces and hands/gloves. The angle is from below as if you were a spectator at the event and you see the struggle that Ernie is facing, bloody and beaten. Then the slow motion and voice over begin and the pull back from feeling like you are in the action to being a third party voyeur. We are watching from a TV set with a running commentary. It is a different experience, almost clinical, like watching bugs wriggling in a jar. We watch the fight,
  12. Great staging in this scene! First Douglas is towering above Heflin as Heflin sits on the couch. He offers Heflin a cigarette and lights it for him and seems very engaging, but there is an edge. His body language is still dominant as he questions Heflin - like an attorney, cross examining. They are both sitting with Douglass still sitting higher than Heflin with an empty chair between them. Someone has coming between them in the past - someone not in the room. They get up and cross to another part of the room where Heflin, who is taller, is now asking for a favor of Douglas. Once again the
  13. This segment opens with the darkened winding highway, like so many others. The dark, lonely highway with dangerous drop-offs and suspenseful music shows a dark sedan pull to the side of the road. You see the lights of the city nearby and with the aid of a flashlight, we see the mile marker showing that the city is only 3.5 miles away on this dark lonely stretch of road. We cannot see the driver's face. It is obscured by the car's doorframe and shadow. The camera angle is from below, so we know there is something off about this man in the car. We see the couple coming in their car - a light co
  14. Although Hitchcock's opening begins with the darkened entrance to the train station and has that sense of foreboding that opening sequences of film noir typically do, Hitchcock infuses it with a sense of humor that is lacking in the serious, gritty movies we usually consider film noir. The light, almost comical music as he obviously contrasts the two men as they exit their vehicles. It is almost like Hitch is acknowledging the device and saying to us, "I know it is becoming trite, but I am manipulating you this way anyway." He is using devices that so many others had used, but gives this nod t
  15. The three openings all show a person on the move. Three are on foot at the opening, three end up in vehicles driven by others, the man in D.O.A. is on foot and is in charge of his destiny, seemingly at first, but once we keep following, it occurs that he is being propelled into an unknown world the same as the other three. The woman in Kiss Me Deadly is escaping the police and killers. The man in the Hitch-Hiker is escaping recapture by police. The woman in Caged has been captured by police and is riding to her uncertain future in jail. The man in D.O.A. is hurrying to police, but the indicati
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