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a.casey1790

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  1. Unlike the other film noir scenes we've seen, this twist of fate seems to be a blessing at first. They suddenly fell into a bag of money! It was only when we they realize that the money was meant for someone else that they are suddenly involved in something illegal that things go wrong. Twists of fate were common in film noir though they became increasing prevalent in the Cold War, where Communists were anywhere and there was no one you could really trust.
  2. For starters, this is my favorite Hitchcock movie. Now, on to the discussion: Unlike Kiss Me Deadly and Hitch-Hiker, there is no sense of urgency in this beginning scene. It is a simple ordinary scene of an ordinary day: two people taking a train. And yet, we sense that these two men are going to be interconnected and important to each other in this story. When the men get out of their cabs and walk to the train, the shots keep cutting, making it seem that the men are walking toward each other rather than to the train. Then cut to the crisscrossing tracks and finally the criss cross legs befo
  3. This is the first of the Daily Doses that takes place inside. But it does continue the theme of moving and not knowing where you're going or why. When we end at the Homicide division we feel the fear and bleakness or the other daily doses. We should feel security and safe that the main character is in the presence of police, yet they seem to be against him. They already expect him, we don't know why, and they don't seem the least bit shocked that Frank is coming in to announce that he was murdered, a charge which shocks the audience. Something tells us that the police can't be trusted. Then wh
  4. The confusing opening immediately alarms the audience. We are not sure what is going on but we know something wrong because there are sirens and given how loud they are it means that we are in some form of emergency vehicle and that's never good. When the van stops, we are called tramps and ordered out by a terse voice. This is not good. We can tell that the main character is feeling that as much as we are. She clearly has never been to prison before because she is frozen and scared in the van when told to get out. The group of women move as one to look at the last look of freedom, indicating
  5. This scene reminded me of why my mother always told me never to pick up hitchhikers. She told me of a time when she used to hitchhike with her friends and how it was the norm until it wasn't. Now I understand why it rapidly grew out of style. This scene depicts several themes of film noir, such as alienation and loneliness, randomness of fate, and chaos, violence, paranoia. The first theme of alienation and loneliness depicts both the killer and his captives. The killer is alone because he is a killer. He has no friends or companions, compared to the two men who have each other throughout th
  6. There are several themes introduced in Kiss Me Deadly. The first is of a woman (Christina) who will do anything to avoid confinement, both literal and metaphorical. When we first see her she throws herself in the path of an oncoming car, risking her own life, in the hope that a car will stop. Then she offers her body to Mike in exchange for him not turning her over to the police. In this case, her confinement is literal, she has escaped from an asylum. The second theme is of a man who will do bad things for a woman. We see this first when Mike grudgingly gives Christina a ride, he opens the do
  7. This was a spectacular entrance. We think the man Cotten is talking to is simply just another spy. All we see are his feet, and a cat in between them. The only reason we see his face is because a woman is annoyed by Cotten’s shouting turning her light on in her apartment. The revelation of Welles is sudden and therefore the impact is more powerful. The man we thought was dead is standing there across the street! Then just as suddenly, the light in the apartment goes out and he disappears. The on location shooting adds to the realism of the scene. We believe that we are in Vienna, in a street,
  8. When we first meet Frank he is rather happy go lucky. Calm about no job, interesting philosophy on life. We first see his face through a car window. We see a “Man Wanted” sign. Frank thinks it means a new job or something, though he’s not interested. Then we see the police drive by and the “Man Wanted” sign takes on a criminal meaning, like a wanted poster. The location seems to be on a soundstage, with the valley below seeming green scene. Frank’s character is happy to do things for the owner, like watching the hamburger so he can tend to another customer. The lighting has black X’s like pris
  9. Peter Lorre enters the scene calmly, unconcerned, talking to himself. He enters the room to find it completely trashed. Then enters Sydney Greenstreet, also calmly, unconcerned, yet holding a gun. Both had a slow-walking pace. The camera angle is shot diagonally so with Peter always facing Sydney at an angel and vice versa. The lighting is always behind the actor, lit from a lamp in the corner, which stays in focus with the two actors when they are seated. The telephone is always in focus too, and is even commented on by Sydney when Peter reaches for it. There is a slow tracking shot to a clos
  10. The clip starts off with the popular noir theme of a voice over narration by the male protagonist. It sets the scene and informs the audience that they are about to meet the femme important to the story. The movie appears to be shot on location so that the audience sees landmarks and markers that tells them, in addition to the narration, where we are. We first meet our protagonist by the back, we don’t see his face until he is just about to enter the cantina, so his face is in shadow. We see it in light once he is seated at his table, facing the door. When we first see the femme, she is also i
  11. Well the first way Hawks establishes Bogart as Marlowe is by him saying his name at the door. Besides that, he is wearing the clothes Marlowe describes in the chapter. He is unimpressed by the wealth,though he says he's calling on four million dollars, not on the person who has the four million dollars. He is very attracted to women and has no problem flirting with them, even if they are the daughter of the man he has come to see. He is unembarrassed at the butler seeing him holding the daughter and makes a sarcastic comment about "weaning her" afterward. He clearly does not care what others t
  12. Throughout this clip there are hints of trouble lying ahead. The voice over dropped phrases such as California is "entirely dependent" on the farm workers to harvest their crops, meaning that the farm workers technically have the upper hand. They describe the farm workers as "mostly following their country's laws and ours" indicating that there are some who don't and therefore could cause a problem. And finally they talk about the illegal workers who steal the earnings of the legal ones and call it a great "injustice". It is setting the stage for an explosion between legals and illegals. One o
  13. I have seen this movie and I didn't particularly enjoy it but the opening is the best. We start off in a diner just like the painting of the Nighthawks and yet something is wrong. There are no customers except one man and the manager. In fact, a walk-in customer is thrown out. Odd. The normal scene has undertones of something abnormal going on. The high contrast and use of shadows has Lang written all over it. What was especially interesting is that the character all this action is revolving around (The Swede) is never seen. Even when the boy enters his hotel room, the Swede is lying there com
  14. I've never seen this movie but this scene seemed to summarize the plot. We have a sweet girl named Gilda who is putting on a show for the crowd. The movie starts with a man seeming to be startled that there is music starting. It's clear he is not expecting this girl to perform but she does. There are closeups only on Gilda throughout the performance and she is smiling and seems to be having the time of her life, thoroughly enjoying herself. Every move she makes seems to suggest sex, even something as simple as taking off her glove. She's clearly acting for the crowd, even when the song is over
  15. This is film noir with it's subversion of the typical family dynamic and it's getting around the Hollywood Code. A teenage girl had sex out of wedlock and convinced a man she was pregnant only to blackmail him into paying her off. That is truly scandalous in the 40s and 50s and it's amazing the Code let it happen. The two woman are portrayed in similar costumes, let the Veda is wearing a large white flower, usually symbolizing innocence and purity; here worn ironically as the girl is neither innocent nor pure. The scene start with Veda lower than Mildred, indicating the mother having power ove
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