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About susenedwards1

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  1. I can't help being reminded of Al Stewart's song, The Year of the Cat. "On a morning from a Bogart movie In a country where they turn back time You go strolling through the crowd like Peter Lorre Contemplating a crime She comes out of the sun in a silk dress running Like a watercolor in the rain Don't bother asking for explanations She'll just tell you that she came In the year of the cat." Of course it's not raining, and it's Robert Mitchum, not Bogart, but I almost felt like I was drawn into the lyrics of the song in this scene. Jane Greer is stunningly beautiful, yet we know she
  2. There are several instances that introduce us to Marlow. Before he even enters the picture, we know his name. He lets the younger daughter know his profession, and also makes it clear that he can match wits with her. He's much more direct and professional with the General, giving not just his name, but his background as well. As Sam Spade, we're introduced to who and what he is more by the setting than the dialogue. As Phillip Marlow, the dialogue rather than the setting brings him to life.
  3. Prior to this course, I wouldn't have spotted this as a film noir. I like how much I'm learning! As I watched the opening scene, it reminded me of how a typical film noir pans the city landscape. In this film, the mountains are the skyscrapers and the rows of fields are the residential streets laid out in linear form. As someone else mentioned, the braceros waiting to get in to the US looked like prisoners, and in a way reminded me of the postwar concentration camp liberation films. How ironic is it to compare the fertile fields of those days with the drought CA is currently experi
  4. Someone mentioned Rita's tight dress and the symbolic restriction of it. Notice the long slit in her skirt. That's definitely there as a means of escape for her. It reminds me of The Shawshank Redemption. Rita's picture was in Tim Robbin's cell, covering the hole he was digging for his escape. Coincidence? I think not.
  5. What struck me in the opening of this scene was the voyeristic viewpoint of Glenn Ford as he peers through the blinds at Rita. We are no longer just part of the audience, but are taken into his point of view and immediately drawn directly into the scene. Women in those days were not apt to raise their arms overhead as Rita does continually through the song. A "proper" woman kept her arms at her side. That part of body language has gone by the wayside today, but I can imagine how racy it must have appeared in the 1940's. Rita uses the removed glove as a prop, especially when she holds i
  6. Waldo Lydecker refers to Macpherson as "another of those detectives" which refers us to the detective films of the 1930's, and sets the tone of "Laura" as a film noir. The clock is featured as the camera pans the room and is also mentioned by Waldo in the opening scene. For those of you who haven't seen the film yet, note that it will play a major part in the unfolding of the mystery. As often as I've seen "Laura", I've never noticed until today the smirk on Macpherson's face as Waldo exits the tub. It could mean so many things-- possibly was a subtle way of getting past the censors. I
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