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jcc

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  1. Much of Wagner's music is dark and foreboding and the piece chosen for this sound track adds to the sinster and evil mood of the film clip. Using classical music, as an art form, to cover up a crime, by a public figure intrusted with authority, has existential overtones. Mixing the beautiful creative efforts of humanity with the base and depraved gives a contrast that reflects the philosophy of an unfathonable world struggling to understand itself. We should see the brutality not as an endorsement of violence by the filmaker but rather as a reflection of ourselves as we are-- or of what we ca
  2. The first order of business--get and keep the attention of the viewer while providing information that carries the story forward. This is happening all through this brief clip. The background voice of the female police dispatcher on the radio, although not loud enough to be heard distinctly, unless the viewer focuses attention specifically on it, adds realism to the scene. The mood of the film is set by views of vacant buildings and the bleakness of the on-location shooting in a wharehouse district on the edge of marginal residential houses. The skillful movement of Hayden behind the tall conc
  3. This scene must rank at the top as an illustration of what Noir filmaking is all about. Every scene that I have viewed so far has something creative in it that sets it apart from all other Noir scenes. Here the swinging light, as pointed out by the curator's note, serves that purpose in a special way. Without the swinging light the scene would still be very good, but not as original and not great. The motion of the light and shadow ALONG WITH the shifting range of camera shots from low angle to high angle to close ups to POV makes this scene especially memorable. The beating itself, along wit
  4. Not being a trained musician I have trouble expressing my thoughts on a musical score and its contribution to the film. However, I love music and recognize the importance of sound and especially music to the success of films. I watched the clip three or four times focusing on the visual effects and dialogue, only letting the jazz/blues provide subconcious background to what I was hearing in dialogue and seeing on the screen. The music added a lot even when I was not focusing on it, and I was acutely aware of the music and the effect it had on me. Then closing my eyes I listened to the cl
  5. I loved the Salvation Army Band in the opening scene. It can symbolize many Noir motifs. This religious organization is in the business of saving souls, saving people who have been captured by evil. So we know immediately that crime will be present or moral/ehical failures will be seen. The SA Band suggests the eternal battle between good and evil which is what Noir films are all about. The sign "keep the pot boiling" can be seen as a double entendre. Keep the pot boiling (with donations) to do good works, or it can evoke thoughts of a witches brew-- an evil potion to be used to corrupt inn
  6. No, I don't see paradoy of the "hard boiled school" in the first scene. It is Noir all the way. My guess is that the paradoy will start in the scene when the woman enters the script. Just a guess as I have not seen the film. I think she may not be the kind of femme fatale we have seen before. The young detective, Charles McGraw, with his trench coat and fedora hat is old school all the way. His talk, from interaction with porter which has a tone of "all business", and is "sharp, directive, in charge"; to dialogue with the other detective which has ironic humor, reparte, and tough talk, i
  7. A bank heist, relative to other kinds of heists, is more dangerous because of armed guards, alarm systems, and employees trained in how to deal with a potential robbery. Therefore, timimg is much more important from the view point of the robber and this is emphasized by the camera shots of clocks and watches. The robber is shown actually observing the bakk and timing the guard's arrival and departure from the bank with the money. He also records the movements of a flower delivery truck which apparently makes a regularly scheduled run next door to the bank. This will also no doubt play a role
  8. The contrast between the shots of the fight seen through the TV and through the "camera" are indeed powerful. Truth be told, all the shots were " through the camera", it is just that some of the film of the fight was staged to look like it came over a TV set. First we see long shots showing the TV set itself (where the fight happens to be playing) and the various objects in the room, and Ernie (watching himself on TV), and even Pauline, his wife, eating dinner in the background, in a very modest apartment. Unique and attention getting. The camera then zooms to close ups THROUGH the TV set
  9. The staging of this scene suggests middle class society in the post war era where the American Dream has been revitalized. A young district attorney, Walter is talking with a childhood friend who has just appeared in town after 18 years, and seeks his help in a legal matter--helping him get a girlfriend out of jail for parole violation (a two time --at least two times--looser). Immediately the topic of the "three of us" comes up implying that there was, and will be a complicating love triangle in this film. We expect that the woman will be the femme fatale without, at this point, knowing anyt
  10. This opening differs from The Hitch Hikers and Kiss Me Deadly in that in those two films noir danger is directly interjected into the film by bad characters, characters outside the law. In Too Late for Tears an opportunity (a sudden chance for security) suddenly appears. Although the money is surely tied to no good in some way, Alan and Jane have control over their fate, initially at least, because they could have thrown the money out of the car, or given it to the rightful "owners" who follow them. Jane seems to particularly want to challenge the person following her as indicated by her syn
  11. The rhythm in the opening scene is set by the music which changes from sweeping and grand elements to a pulsating, dramatic and suspenseful mood to a stacato-playful tone, all timed to shots of the two characters movements as they move towards an eventual meeting on the train. The purpose at this point is not sinster or evil as are the opening scenes in Kiss Me Deadly or The Hitch Hiker. At this point the film could be a melodrama or a romantic film not a noir flm. The scenes did have noir elements in terms of style re the contrasts in light and dark, low camera angles, shots that do not
  12. The similarities with the three other noir clips are night camera shots and shadows. Rapid movement of main characters in three of the clips in the early seconds of the clips, giving a sense of urgency on the part of the characters that is recognized by the viewers. This creates tension and mystery and uncertainity that the viewer wants to see resolved. The long walk by the character Bigelo heightens this tension and raises questions. Who is the character, good guy or bad guy? This is unclear in three of the four films at this early point of the clip. What story line will unfold? What has hap
  13. The opening scene is consistent with the Warner Brothers house style in that it is urban, tough talking, shot at night, all dark and shadows except the bright shot of the name of the institution-- "Woman's State Prison". The viewers feel caged because they view the scene from inside the police van (a cage with a small window with wire over it). The rough handling of Eleanor Parker by the police officer, the tough guy language "out you tramps, end of the line" all contribute to a noir film that promises a hard boiled, criminal plot and fast action. The close ups of the faces of the women show
  14. Welles' entrance is, like all memorable entrances, unique and creative. Here Cotten responds to the mewing of a cat and talks as if the cat is following him. However, he soon realizes the cat is at the feet of a man, and he then shifts his conversation to the man. "Why are you following me, who are you? ", he asks. This scene is shot at out of doors, at night with wet streets and shadows,all with the unforgatable and iconic zither music in the background, one of the most recognized pieces of musical sound track in all of film, I would argue. Cotten's voice shows the slight influence of
  15. Garfield's entrance is staged out of doors and takes up most of the scene. The natural lighting is a contrast with typical night time shots or darker interior shots of noir films we have seen in the past. He is framed in the window of the car as he thanks the driver for the lift. This is a close up shot giving us a good look at the caracter's physical features. We also see that he is well dressed and of average build and seems to be a "clean cut" type. He is then framed in the foreground with the car, policeman and ocean behind, in a longer camera shot. The "man wanted" sigh is possibly a poin
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