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CrypticMusic

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  1. Having an eye open to realism vs. formalism in this opening, it was still a shock to notice how subtle a shift Siodmak made in his shooting. First we are looking down a narrow alley with a deep focus, watching Nick jump over the fences to the Swede's apartment, then a smooth pan to the right and we are suddenly inside the Swede's room. We don't pass through any walls or windows, the camera is both inside and outside at the same time. It's an impossible move if we think of the camera as the eyes of a human observer.
  2. The image that struck me most during this musical number was the smile on Rita Hayworth's face while she was strutting around the stage. This is a woman in full possession of her sexual power, and she isn't afraid to use it. It might be tempting to cast film noir in a misogynist light with the trope of the femme fatale, always blaming the woman for a man's downfall, but this scene reveals more of a prelude to the Sexual Liberation movement of the 60s. Perhaps the femme was so fatale because she could no longer be controlled by the men, and she wanted to create her own rules. Even the truly
  3. While most people have focused on the significance of the sound of the clock, I don't think anyone has remarked on the image of the clock in this opening. From the opening credits where the clock pendulum is in close up for a good 60 seconds, to the moment Ray Milland gets up to leave at 2 minutes in, the clock is either directly in the centre of the shot, or easily visible in the frame. The way it is lit brings up a noir theme that Richard and Shannon often mention in their podcast: doubling. I actually feel like I am seeing double when looking at the clock. The bright foreground face and su
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