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Centurion Star

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  1. I think you've hit something important about disillusionment being an important component of Noir protagonists. I knew that a lot of them seemed to have given up chasing something better, but I didn't know the word for it till I saw your post.
  2. Marlowe fits well into the noir context because he resembles the category itself. The audience doesn't know right off this is good or bad, on it's way up or on it's way down; what we do know is that it's intense, not afraid to play dirty, and that we'll have to watch very closely to see what happens next. Additionally, Marlowe, and other detectives like him, let the audience explore both sides of humanity, the dark and the light, by standing squarely in the middle of it and interacting with both sides.
  3. I like your point about Lydecker watching the detective. Like, who is this dude that the thinks it's his job to watch detectives?
  4. Lydecker certainly seems to contribute to the unreliable narrator trope. He starts off alright, talking about how he'll never forget this and how horrible it was. But from the moment he says his name he reveals a smugness and a re-framing of events to fit his narrative, calling himself "the only one who really knew [Laura]", making the detective wait on him, the entire rack of monogrammed towels, calling himself "the most widely misquoted man in America", calling his inaccurate depiction of a past murder "superior" to the facts themselves, plus the fact that he's clearly going to make his audi
  5. Was anyone else reminded of the Bourne movies? Shots that follow the characters around their world, jumping from one bit of information to the next? A barrel, a hill to get away from the truck, get out of there as quickly as possible, ditch the shirt to throw them off, and 15 minutes to solve your next problem in? Both movies really succeed in keeping our focus on exactly what is in front of us and boil away the rest of the world.
  6. One thing I noticed was that the opening keeps hinting at information before it reveals it, we hear the children before we see them, the camera pans to the balcony before any character enters it (causing me to tilt my phone in a attempt to get the camera to pan faster), we see the staircase before the woman climbs it, we see the school before we see school children, the girl bounces her ball against the poster before we get to read it, we see a silhouette before we get to see the murderer, who, of course we know he's the murderer because we've already heard the children and seen the poster.
  7. I noticed that too! And then the next noise you hear is the rapid alarm beeping of the cuckoo clock that's chiming an important time of day.
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