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BarbaraGTucker

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About BarbaraGTucker

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  1. How are the "entrances" of John Garfield and Lana Turner staged in this sequence? What do their "entrances" reveal about their character? What are some of the noir elements in this sequence? What did you notice in this sequence that you identify with the MGM "house style?" (Answer this question only if you are already familiar with other MGM films from this time period). I try to experience these clips freshly, as if I hadn't seen the films before. At the same time, I take ito account that a filmmaker does nothing randomly, that life is compressed in film and every details matters. So Garfie
  2. How does this scene employ elements of the noir style while most of the scene is shot during daylight? We see Jeff in very bright sun and then he enters a "cave" that is cool and isolated and safe from the sun. I think, how can he wear that suit in such heat! The contrast of sun to shadowy "cave" of the bar helps us enter the noir world. Beyond that, though, the scene is about people and close-ups and dialogue, so we don't see much more of the interior. The stage is set, that is all that's needed. -- What do we learn about the characters of Kathie (Jane Greer) and Jeff (Robert Mit
  3. - How does this opening sequence establish Humphrey Bogart as Philip Marlowe? What do we learn about Marlowe in these first few moments of the film? -- Do you see a difference in Bogart's portrayal of Marlowe compared to his performance as Spade in The Maltese Falcon? -- In what ways can the opening of The Big Sleep be considered an important contribution to the film noir style? Other than being private detectives, Marlowe and Spade bear few resemblances. I always felt like Spade (Bogart) is smirking all the way through The Maltese Falcon. He has a partner who is killed but cheats with
  4. Perhaps because I haven't seen this film and was expecting a more standard opening to a dramatic film, this sequence took me aback. First, I couldn't help thinking that nothing had changed, only gotten worse in terms of the immigration situation and perhaps exploitation of the farm workers. I found it ironic that the first part extolled the engineering feets of the irrigation but then it became clear that despite the engineering, back breaking labor was still needed to get the "food to our dinner tables"--whose dinner tables? The connection to film noir is that the characters of film noir a
  5. What are some of the influences you see in this sequence from other cinemas (such as German expressionism) or other art forms? For example, consider this scene in relation to the work of Fritz Lang (who also worked at UFA). -- How does this sequence shift its visual design from realism to formalism, as it moves from the diner to the Swede's room? -- In what ways can this sequence from The Killers be considered an important contribution to the film noir style? I think it is interesting how the camera follows Nick as he leaves the diner, moves through darkness, sees him go between the buil
  6. What did you notice about Rita Hayworth's performance when you were watching this scene? If Jazz is associated with noir, both are connected with the urban and with following improvised yet not random patterns rather than conventional paths. This sequence of "Put the blame on Mame" shows for a woman who seems out of control but who is doing what she is doing a purpose. If she destroys a man (like Mame), so be it; she is a force of nature but not without will. She is also aware that she can control men with her beauty and sexuality, although there are limits to her control with the man s
  7. - How do you feel the noir influence operates in this scene from Mildred Pierce? -- How does Curtiz arrange these two actresses to heighten the tension of the scene? Pay attention to how they move and how they are framed in the scene, especially the use of close-ups. -- In what ways can this scene from Mildred Pierce be considered as an important contribution to the film noir style? Reading the posts below helped me on this, because MP does not seem like noir to me because of the soap opera nature of it. The material could be handled in a much less film noirish way by a different direc
  8. How would you compare the opening of M to the opening of Ministry of Fear? -- Describe in your own words how Fritz Lang uses the clock in this scene as a major element to set mood and atmosphere. -- In what ways can this opening scene from Ministry of Fear be considered as an important contribution to the film noir style? The tone of M and Ministry of Fear are similar, but achieved differently. The children's horrifying song vs. a ponderous clock. But clocks appear in M, MOF, and Metropolis as central symbols, all negative or at least leaning toward the negative and foreboding. Milla
  9. Describe some of the things Marlowe says or does that make him a new kind of private detective? -- Why do you think this kind of private detective fits so well within the film noir context? -- In what ways can this scene from Murder, My Sweet be considered as an important contribution to the film noir style? Murder My Sweet grows on you. Well, it grew on me. The first time I saw it I was like "What?" finding the blackout scenes funny. Now I get it, after multiple watchings, and it bears multiple watchings to get all the nuances. William Powell went from being a sweet tenor to Mr. Ha
  10. I have watched Laura many times and even own it (rare for me to buy dvds) and consider it brilliant, so I didn't have to watch the YouTube clip because the beginning is so memorable. To me, nothing is as it seems in this movie. Obviously, Laura, the victim, is not dead. The men who care for her don't really. No one is without dark motives. As far as it being about furnishing and faces, I think that it is more character study than some other film noir/detective stories. The plot is character-driven more than genre, and the characters are three dimensional. Wado's high life style as a Walt
  11. We were supposed to decide on a word, and mine was "foreboding," not very original but that was the sense from very beginning camera angle downward on the children, and the lyrics to their song (instead of Eenie-meenie-mino-mo), the mothers being scolding, somber, and wistful, the parents standing outside of the school (presumably waiting but it looked like a tomb, and they stand so still), the little girl almost being run over. When I think of Lang I think of the clock hands in Metropolis being held up by the worker underground, so I always think of clocks in regard to him, and here even the
  12. To be honest, I always thought this POV opening was the weak link in this picture. I suppose it has its purpose but since it "goes away" at one point, I am not sure why it was used but it's one of the things this film is known for. The structure of the plot if more iteresting to me. I don't personally find it effective here, more gimmicky than useful. One thing I have noticed about film noir is that along with the femme fatale or the woman who brings the character down (in this case Agnes Moorehead), there is the faithful woman who is willing to do anything (Lauren Bacall).
  13. A lot has already been said about this opening, but I can't help but notice the class differences. Here we see the workers, Singaporean or otherwise, who have to sleep outside, fight mosquitos in hammocks. Then the well-off white woman living in the comfortable house made up to look as Western as possible emerges shooting an unarmed man. Of course, we don''t know why. The workers are supposed to obey her commands afterward. She is seemingly calm, they are confused and upset. She is plotting how she will use the system and her status to her advantage. I don't know to what extent noir is
  14. Already my eyes have been opened that noir is more than what I thought it was. I had a very narrow view of noir, pretty much the Double Indemnity/Out of the Past/The Killers mode and thought all noir were American. In the first two daily doses I have seen non-American and different beginnings. The realistic train beginning in La Bete Humaine parallels the traveling theme of many beginnings (transportation, movement, mobility, and its lack of rootedness). The working class characters often anchor noir in some way. The dirtiness and grittiness could be symbolic of the darkness that is to c
  15. I am a little late to this game, but have been following the videos and posts. In terms of this opening sequence, I think the camera angle on the children, the words to their song, and the way the camera stays on "empty" space after or before a person is in the scene adds so much that goes beyond a verbal description to create mood and tone. The fact that the mother scolds the children but they keep singing says something about human nature and depravity or a fascination with evil we don't fully understand--even as children. I mean, that's why we like film noir in the first place, right? M
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