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About Moviegirl1

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  1. The music, the scenes, the quiet restfulness of the workers, the bird, the dogs, all jarred out of this vibe by the unexpected sharpness of a sudden crack. At first, almost an unknown sound, yet the sound is heard again and again confirming what exactly belongs to. The serenity of the resting men is broken by the man now lying on the ground, not asleep, but dead. The coldness of Betty Davis' eyes is exactly counter to the percieved warmth of the night. I was particularly unnerved by the constant tension in her hand, even after the gun was dropped. She seemed cool verbally and in continance,
  2. I liked how the scene opens with a scream. Albeit a mechanized one, but still a scream from a beast. Shrill akin to that of a woman. The attention to the different angles shot of the machine (train) gives a human-like quality to the subject being viewed. Creates more interest in viewing the train as a character instead of just a machine. The only humans viewed in the opening are inside the train. They communicate only in gestures instead of speech. This makes them less human-like, as we see more of the train and the train surroundings than of the humans themsellves. Also, the platf
  3. I sensed certain "vulnerability" in the children due to the camera angle making thme look smaller as you look down on them from a higher perspective. Then the pan up to th ebalcony tends to linger just a micro-second longer on the shadows leading to the balcony, giving you an unsettling feeling of something being signifigant to the shadows, but you just can't see it yet. Also, after the woman tells the children to stop singing that song, the camera lingers on the empty balcony ofr another unsettling micro-second, leaving you again with a sense of expectation-like something else is afoot, but y
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