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lreed333

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About lreed333

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  1. I think of Chaplin as the Little Tramp. His characters' slapstick is so fully artistic and often done subtly. Keaton is very physical and bold in his comedy.
  2. Full screen shots leave it up to the viewer on what to focus on. So many elements go in to making this sketch. Close ups leave less room for the viewer to be able to choose what he wants to see and leave out so many elements crucial to making the whole scene work. A Piece of Cake is awesome as all the elements contributing to this slapstick are able to be viewed at once.
  3. I signed up for this course, frankly because the noir course was outstanding!! When I read the topic was to be slapstick, I immediately thought of physical comedy: Jerry Lewis, Buster Keaton, The Three stooges, Charlie Chaplin, & Laurel and Hardy. Knowing how this would be the tip of the iceberg, I was all in to learn, learn, learn. Data from Star Trek: The Next Generation defined slapstick as comedy stressing farce and horseplay. That's pretty succinct. It seems difficult to attach such a small definition to such a large body of work. I'm in with the 5 elements of slapstick!
  4. There is nothing subtle in the directors use of noir elements to contrast the film's version of the fight with television's. It isn't the slow motion that caught my eye, but the "flatness" and lack of depth or perspective to the television version. The low camera angles, POV shots and extreme close ups give formalism to the film vs the television which is more realistic, and in my opinion flat.
  5. Having never seen this film, my impressions show that Van Heflin has charge of this encounter. Van Heflin is confident and has some "power" over Douglas. What drives that point home is VanHeflin's response of "you will" to Douglas as if Douglas has no choice as to getting charges dropped on VanHeflins "friend". Blackmail, deceit, and bad karma have already laid the foundation for noir themes.
  6. Elizabeth Scott in Too Late For Tears, embraces the chance to keep newly acquired money. Along with embracing that money, comes a total flip of roles which Elizabeth Scott seems to revel. This role reversal in the film runs along side the role reversal for women during this time period. When the couple run with the money, they are going to be running for their lives. When I think of the other noirs I've watched, the protagonists seems to be running from their horror (Cloris Leachman in Kiss Me Deadly), or the characters are entangled by horrible fates (The Hitchhikers). Kennedy and Scott are embracing their horrible fate. In a split second, they make a noir choice.
  7. Since beginning this film noir class, I view film from a very different perspective. I especially enjoy watching them for certain clues that set the film up. It's almost like the first few minutes of the film set the viewer up and the viewer isn't even aware it's happening. Such is the opening scene of Criss Cross. Now that I look for details that inform the viewer of "things to come". Dress makes the man. It does in this opening sequence. Personalities are unfolded by fancy shoes and expensive suiting vs plain shoes and plain suit along with tennis rackets that are important enough to take along on a trip. One personality discloses a man that invades another's personal space, rather overwhelming when Farley is attempting to read and this stranger pops up very close beside him, too close. In addition, just the title alone is reinforced with the words criss cross. Crossing legs of the characters, train tracks crossing in the opening sequence and two strangers crossing paths. This opening sequence is not one I would "label" as noir. I don't have a feeling for dread or darkness. Hitchcock is leading us on a tale. We are intrigued by what's to come.
  8. Totally noir is this opening scene. What hits the viewer the hardest is the purposefulness in Edmond's walk. He steps hard in time to the music...driven. I feel as if I'm walking with him, something urgent message or purpose in his style is revealed.
  9. There is a shift in noir films this week that leaves the mystery and hooks that were present in earlier noir films. Elements of noir such as dark lighting, gritty realism and engaging music are present, but the futility and hopelessness of situations enters. It's a side of life that is dangerous to enter, bleak for the soul and truly uncomfortable. As a viewer, I truly don't know if I want to enter.
  10. Holy moly!! This is a great introduction for Cloris Leachman...her introduction is totally emphasizing her want to escape the current situation she's in, which the viewer has no clue to. But she's in a coat and barefoot, running blindly down a highway...which is totally not good in my mind. She's desperate. Mickey stops the car out of necessity, which is really evident by his lack of reaction, to her or her situation. He appear put out and extremely inconvenienced. He evidently could care less about her situation. So..where is this going? Now I have to watch it!
  11. -- What makes Harry Lime's (Orson Welles) "entrance" in this film so effective? At first, when Joseph Cotton recognizes he's being stalked, the cat, the skewed camera angle of the door and low lighting engage the viewer. We are focused on that doorway. The great lighting on Harry's face when the neighbor turns the light on all make this scene more engaging. What's more surprising is Harry's reaction. I expected him to run or confront Joseph Cotton's character, but he has this smug confident smile on his face.
  12. Wow, what an impact this seen has. John Garfield's character seems to reveal a man searching...ah...man wanted, in more ways than one. Oomph, va va voom, what a entrance on Turner's part. That seen sizzles from the moment the camera pans the floor to those legs. She traps him from the first seen.. He's hers, but, not without some submission. Great scene.
  13. In the clip from Jean Negulesco’s The Mask Of Dimitrios (1944), Peter Lorre's character walks off the elevator flipping his hat, and preoccupied thinking of something. The music playing is not dark or ominous. But as Peter Lorre opens the door, the music shifts to a "beware" forte. The upturned room along with the music, leads the viewer that something bad is about to happen and then Sidney Greenstreet appears with his gun in hand walking through a dark shadow. The clip now engages in the characters conversation, no music and the focus shifts to each character as does the camera. Each character is focused on separately as the viewer concentrates on the conversation.
  14. There are many ways to interpret,"How do you learn about Jane Greer and Robert Mitchum?". Because the introduction to this question deals with shadow and lighting, that's the direction I take this question. Viewing this clip for the first time, shows the characters well lit. It appears that they have multiple lights on them giving them many shadows, but carefully done, so the shadows don't darken any character in the scene. After viewing the many film noir movies I have so far, This lighting approach seems different. Shadows are very apparent, but the characters seem well lit and focused upon.
  15. The dark turbulent music sets the mood, in this film during the credits. The sweeping cinematography depicting the vast open landscape sets a dark undercurrent on the topic of illegal immigration for migrant workers and the violence that occurs. This clip shows how life should go, but the mood of the film is such the viewer knows there can be an ominous outcomes.
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