Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

Msscarlett47

Members
  • Content Count

    8
  • Joined

  • Last visited

About Msscarlett47

  • Rank
    Newbie
  1. 1. I would agree silent films from 1912-1930 comprised comedy's golden era primarily because of the inventiveness of the pioneers of comedy such as Chaplin, Sennett and others. 2. While the gags during the silent era were very much visual, they were enhanced with the coming of sound. The addition of sound effects to physical (visual) comedy allowed comedians to expand the realm of comedic gags. This meant that comedy evolved greatly following the advent of sound. 3. I would hope that people would open their minds to the genius and creativeness of early film pioneers and they would learn
  2. I've never had the impression when watching this scene that Hayworth's character of Gilda is drunk. While she may have had a couple of drinks before she hits the floor, she's fully aware of what she's doing. I also have the sense that she's fully aware of the impact her actions will have on Ford's character of Johnny, but she's willing to take the chance if the attention she gets from him is negative. Gilda is a woman with self-esteem issues and let's face it, she is dependent on men to boost her self-esteem, even if their attention is shallow. Ford's character is obsessed with Gilda; he w
  3. Okay, I'll preface my comments with the fact that I've never been a Crawford fan. Having said that, I can appreciate the scene because Mildred is faced with the fact that Veda is a selfish, spoiled brat who cares only about money and who doesn't care who she walks on to get it, including her own mother. In a complete reversal of what we expect, Veda slaps Mildred rather than the other way around. I don't see Veda as a femme fatale, but just a spoiled, snotty brat who has been given too much and not held responsible for her words or actions. I can compare her to some of the young people I'v
  4. I have not seen Ministry of Fear, but the opening sequence definitely piqued my interest. I agree that the use of shadow and light is not as stark as in M; the sharp contrast in M as well as Metropolis, which was also directed by Lang is jarring. Ministry opens with the sound of the ticking clock; fortunately, the sound is gradually eliminated, which allows the viewer to relax. I agree with another writer who said if the sound had gone on much longer it would grate on the viewer's nerves thus causing the viewer to miss some of the other subtleties in the opening scene. I appreciate the us
  5. Dick Powell is my favorite film noir actor, followed closely by Robert Mitchem. Powell's Marlow is a bit more polished than other P.I.'s; his sense of humor can easily throw someone off because he seems so affable. But he's observant and crafty; smoothly locking the door behind him tells us he's suspicious and is one jump ahead of her. His willingness to work with the police is another surprise; somewhat of a "you scratch my back, I'll scratch yours" view. He knows the police will use him, but he's also going to use them to achieve results.
  6. Lydecker is pompous, narcissistic, cold and calculating. His voice at the opening of the scene when describing his knowledge of Laura is very matter-of-fact in my opinion, almost rehearsed. The panning of the camera around the apartment and the opulence, although used before, is eye-opening because the viewer learns these are not the dark, seedy surroundings common in film noir. Lydecker's interaction in the bathroom with McPherson is unsettling primarily when you consider the time period in which it was filmed. My own take on this is Lydecker is attempting to throw McPherson off, another
  7. Yes...I opted to use this forum for posting rather than Twitter.
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...