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owene73

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  1. 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? Their two entrances from different ends of the frame are contrasted in tone, Lorre has a drunken charming playful tone, playing on his exoticism for sure but also by now playing on the audiences recognition of him and enjoyment of his startled slightly bullied persona. He walks obliviously into the scene. Greenstreet comes in with menace, for all that Lorre in his warners movies is often an antagonist he can also seem
  2. How does this scene employ elements of the noir style while most of the scene is shot during daylight? As the title to the daily dose suggests it makes a real thing of the journey from the light into the shadow. Jeff talks of the sun and the heat of mexico but he brings to mexico his own pool of shadow and talks about how he can't connect with the hot summer things the city is known for. The lighting inside contrives to still have Jeff in shadow and to use the shadows of the local selling them things on the wall of the cantina. Tourneur is known for his use of shadow and suggestion, mainly
  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? We learn a lot about his background, his wit, even his height, the joke about trying to be tall seems as much about Bogart as Marlowe but the film actually gets a lot of info that is often in the cliched noir PI voice over naturally without needing to recourse to narration. -- Do you see a difference in Bogart's portrayal of Marlowe compared to his performance as Spade inThe Maltese Falcon? Some, he is more detached, wittier, feels he c
  4. What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? The realism of the documentary sequence serves at least two purposes, it establishes the world of the movie providing information that might not be well known to every viewer in different parts of the USA (or beyond). By using a style the audience would be familiar with and respect (If not find exciting) from newsreels and propaganda films that accompanied the fictional movies at the cinema it adds to the stakes of the story being told by making it seem '
  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). The compositions and lighting are somewhat reminiscent of Lang. The sense of an inescapable doom that leaves your actions meaningless is also there in a lot of Lang's work (but also a lot of other places of course) The titling of the sequence as Nighthawking obviously brings to mind Hopper, biographies of Hopper have stated that the picture nighthawks was inspired by
  6. A hard one to answer as it's been so long since i saw the movie and half remembered stuff about the situation kept creeping in to my reactions. What did you notice about Rita Hayworth's performance when you were watching this scene? That it's drunk and conveys that in both its recklessness and its small misteps. That she is using the audience as a prop in the second layer of performance that is aimed at Ford's character. That, obviously, it is based on sex, which is again down to the power struggle in the relationship with Ford. -- What are some of the deeper layers of meaning
  7. -- 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. The costuming of the two characters in similar black outfits lets them work as negative space in the composition and lets you, if you have been asked about it, to follow the shifting alignments of the two women. The scene starts with Crawford as one of a number of vertical shapes in the room, parallel to the door and the stairposts. Veda is the exception to the composition of the scene her black shape messi
  8. Susprising as I am a big fan of both Lang and Greene but this one has never really touched me much -- How would you compare the opening of M to the opening of Ministry of Fear? They are both trying to create a feeling of all pervading dread but M does so in a wide range of ways that put you right in the setting and make you feel like society as a whole is under attack. Ministry of Fear does so with a handful of quite cliched ways, the ticking clock suggesting a countdown to something, the shadows, the germanic font, and never reaches the same level of involvement. -- Describe in your
  9. Describe some of the things Marlowe says or does that make him a new kind of private detective? His actions of locking the door, grabbing the client by the wrist, not trusting her identity and his clear worry about the involvement of the police and his own being a suspect place him a huge distance from earlier screen detectives like Philo Vance. The classic detective story protagonist was quite clearly on the side of the law, could count on their support and moved through the story presenting the viewer with the clues needed to 'solve' the story themselves. The writer played fair with the au
  10. Replying without reading the others, looking forward to catching up with the discussion What examples do you see that fit with Nino Frank's contention that Laura is a "charming character study of furnishings and faces?" Well the first scene features faces as furnishings and the opulent, priceless, clearly collected objects around Lydecker's apartment speak to his character as someone who wants to possess beautiful and rare objects. This combines with the voiceover and the title to hint at his relationship with Laura from the very first scene. -- What do you think about how P
  11. A few extra thoughts having reflected on it all a little bit. I think it's right to look at American society in the 40s and ask what contributed to the tone of the films but I think it's also important to look at French society and the naming of Films Noir. 1946, French society is in shock, close to terminal shock, defeat, occupation, collaboration, the idea of resistance being clung to as a panacea for the image and psyche of the country. The idea of good or at least normal men and women HAVING to do bad things to survive which leads to the question of whether there are good men at
  12. Why did they come out when they did not 10 years earlier or later? I'd argue something combining the production code and the war/depression. People elsewhere on here have mentioned the 30s as the period of screwball comedies, the 40s of Noirs. To me as a big fan of pre-code films both comic and gritty I'd argue that the screwball comedies of the second half of the 30s, particularly the so-called comedies of remarriage, as being directors and writers attempt to continue romantic comedies under the restrictions of the code, especially the restrictions to any depictions of sex outside ma
  13. if you buy his voice over he is anyway. it's been a while since I saw it but it felt like a very unreliable narration to me
  14. sounds close to my approach but I find myself watching stranger on the third floor on a summers morning while watching my daughter. which seems against the spirit of things. I'd planned on focusing on the ones I hadn't seen but that inevitably means leaving the real landmarks which are probably the most important ones for the course. I've a feeling all study plans might go out of the window and I'll end up rewatching a lot of bogart this week
  15. The jazz scene in Phantom Lady would be a really good example for the music being used in the way you mention but yes generally even the diegetic music in Noir is generally classical or latin
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