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Everything posted by ReneeV

  1. After reading the responses and re-thinking the opening scene, I think Ernie is the emasculated anti-hero of noir. The loss of the fight emotionally emasculated him, and his wife, who will not support him emotionally and criticizes him and has lost patience with him, is an emasculating influence. (Ooh, is he also a cuckold? Some man gave her that "diamond" bracelet.) There are no children present in this four-year marriage. His demeanor is one of loss of his own self respect. She reminds him that he's "only a cab driver". Does her point of view also reflect that of society's? I feel there can
  2. All Ernie is left with is a ghost of his former self caught on film and viewed on television. His wife is almost a ghost of her former self, putting together floral bouquets in a floral shop when she could have been an actress. They both could have been something else, he the world boxing champion; she the glamorous movie star. Instead they are two has been's, washed up "could have been's". (Note how quick he is to remind her that she was only a show girl when he met her.) They live in a crummy apartment. Both are so unhappy, a good mixture for a film noir story. He can only go but up. Notic
  3. Compare the opening of this film with other Daily Doses that began with a similar set-up on a deserted highway at night. How does this film's fateful twist differ from other film scenes we have investigated? The opening scene differs because there is a husband and wife together instead of a man or men in a car, etc. The fateful twist differs because the wife sends the action into a fateful event. By her trying to grab the steering wheel, she brings attention to their car, so the driver of the other car marks their car to take the bag of money. She's an hysterical woman in her own right; sh
  4. The rhythm is different from the onset with Strangers on a Train as opposed to Kiss Me Deadly, for instance. The rhythm here is methodical as opposed to the chaotic energy of the beginning of Kiss Me Deadly. Both men have a destination, a schedule to meet, and they both arrive at the train station with plenty of time to catch their train, not rushed. The have time to relax on the train; it's very leisurely. Kiss Me Deadly begins with one character not knowing where she is going -- she just knows she has to get away, and she is shoeless, clothes-less, totally vulnerable. The noir elements o
  5. I'm confused. If I want to reply to just one person's quote, all I can do is "Like It." I haven't figured out yet how to reply to that person I "like"!
  6. The four constants that I see in the four Daily Doses of Darkness this week are the feelings of being trapped. All four protagonists are trapped in some fashion. Ralph Meeker is literally trapped in his supped up sports car (with bad shifting!); Edmond O'Brien (could we call him the king of noir?!!) and his traveling companion (should have stopped at the "****" show in that Mexican town!) are trapped in their car, a death trap; Eleanor Parker is trapped in the prison van, a literal cage, as we watch out that screened window on the approach to the prison; and last but not least, Edmond O'Brien
  7. Harry Lime is like a cat, a very good analogy to his character. The cat sites there nonchalantly licking his/her paw with no care in the world. This seems to be the personality of Harry, even though we know he is a true villain. The light on his face shows him for the beauty he is, and he seems to relish the discovery that Joseph Cotton catches fleetingly. Once he is back in the darkness, he takes off like a cat in the night. (I must admit, though, Shadow of a Doubt was one of his better roles as was Niagra.)
  8. I want to reply to the sizzling hamburger in the opening scene and reply to the writer up above who made the comment about it, Newbie? Anyway, the hamburger burns and sizzles just like Garfield's desire when he sees Cora, but the burger goes into the trash, the only place for something all burned up.
  9. The scene contains two dramatic entrances, one for each actor. How is each entrance different? What changes in the scene as they continue to interact after their entrances? We see Sidney Greenstreet's back in the reflection in the mirror in the room he is coming from. We see Peter Lorre's back as he enters his room. However, one is coming into the room from outside, and one is coming into the room from the inside of the hotel room. The change in the scene is the POV that changes. First we see Greenstreet from the front as he points the gun at Lorre. We are seeing him from the point of
  10. Yes, I thought that was interesting too, that he untied his cook and got him a glass of water before untying the other man. (Although he did get him a glass of water too, plus the cook was his employee.)
  11. The first time I saw this movie, their love/hate relationship drove me crazy, as I felt it was a bit sadomasochistic. How could they love each other so much and still inflict so much torture on the other? But, then, that's why it's a film noir!!
  12. I also found it interesting that Johnny's "henchman" let the dance and actions almost get out of hand before he rushed in to stop her. He was deliciously watching the show just like the audience. I swear that I saw just a twinge of excitement in Johnny's eyes when he first laid eyes on her routine; it was just a split second; he enjoyed, and then all turned to revulsion. I might be reading too much into his eyes in that scene.
  13. The establishing shot of the Chinese statue in Lydecker's apartment sets the tone immediately of his character; this is an eccentric, educated, wealthy man as his museum quality collection shows. The camera pans through his collection. We also see he has a rooftop patio. Although at times gaudy, we see that Lydecker has gone to a lot of expense to furnish his home, even though his home is a museum which is shown in the collection on glass shelves in glass cases. The French clock to me doesn't seem to match the ancient artifacts he owns and then we find out Laura has the only other one in the w
  14. I think the POV beginning to this movie is very successful. You are right in the barrel with him. (Although the camera looks out of the barrel at him as he stumbles through the sewer, a great shot.) Looking both ways, watching as the motor cycle police go over the bridge, parting the leaves and looking across the river back at San Quentin, all of these establish the tension he is feeling as a fleeing fugitive.
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