Jump to content

 
Search In
  • More options...
Find results that contain...
Find results in...

Puddy

Members
  • Content Count

    14
  • Joined

  • Last visited

About Puddy

  • Rank
    Member
  • Birthday 02/21/1962

Profile Information

  • Gender
    Female
  • Location
    Sunny Florida
  1. The opening of this film is less intense than many films noir and is even humorous. It has no flashbacks to help us and no voice overs. In film noir jargon, the term "big sleep" is referring to death so we are curious about the characters and who is going to "sleep". We know that Bogart is the star character, Marlowe, and he is currently a detective because he is a former employee of the district attorney's office, fired for being insubordinate. We see a hand ringing a fancy doorbell and find out that the detective is calling on a wealthy client and we want to know why. As Marlowe is waiting to be ushered in, he meets a pretty, young woman who flirts with him. He gets a kick out of it but is not really impressed. We get a feeling that she might be the reason he was summoned to this mansion. Bogart is less hard boiled as Marlowe than he was as Sam Spade. We learn than Marlowe is a no nonsense, down to business type but he is not starting out as the tough guy with a chip on his shoulder.
  2. The opening scene of any film noir sets the pace for the entire picture. The use of a documentary style is to make the viewer feel that this is a "real" story and it can have an impact on their life. It's not just a story and it gets the viewer in a thinking mind set right away. This style is very different from the hard boiled detective versus the gangster story line.
  3. The music in this scene really adds to the suspense. It reminds me of the old theme from Dragnet. Very heavy and deliberate. That helps tell us that this is a serious situation for Old Swede and "those guys" are not messing around. The diner scene compared to the apartment scene is very different. The apartment scene is dark and still and Swede's face is completely hidden and he is motionless. He makes no attempt to leave or even ask questions. He is resigned to his fate. The diner scene is bright and full of action and interaction, almost giving the viewer a sense of hope that Swede can be saved by Nick's well-intentioned warning. Realism is about showing the truth without any manipulation. That describes the diner scene and Nick running to warn Swede. Formalism is the opposite and that is the apartment scene with the dark room and unbelievably still figure on the bed and it is a much more artistic and symbolic style.
  4. Every time I see this scene, I think she is sad. She is looking for the genuine attention she craves from (Glenn Ford) Johnny. Her acting out results in Johnny getting mad but it is still some sort of attention. The song is full of double meanings and if you listen to the words, you can hear that Gilda is essentially complaining about how things work out for women. She is telling us that she is being blamed and men are never held accountable for their actions. She decides to play the game in order to get her "side" out there and hurt Johnny. Dressed in a very sexy dress and doing a mild striptease, she knows this will make him angry. The deeper layers I see are the anonymous men that obviously love Gilda but all she cares about is the love of one man and he is not interested. She is even willing to have these other men undress her since Johnny won't. I also see a connection to the post-war atmosphere in the US, particularly the paranoia about escaped Nazis. Things like homosexuality and impotence were only hinted at because of the production code. This is one of a handful of films noir that has a (sort of) happy ending. The refusal to arrest anyone at the end made me think of Casablanca.
  5. I just wanted to say that I enjoyed the lecture. I read the transcript as I listened to the lecture and it really made it stick. Thanks for making it easy and thanks for the flexibility. Any chance on a class covering pre-code movies? Please?
  6. On George Raft being "stiff"~ Old George started out as a dancer believe it or not. He was on Broadway early in his career. He was also a functioning illiterate. I do not know how he read his scripts, but he obviously managed. He was in over eighty movies so apparently, "stiff" was a hot commodity back then and he as two stars on the Hollywood Walk of Fame - one for movies and another for television. Look up the movies he turned down. It's shocking. The Sea Wolf High Sierra The Maltese Falcon Double Indemnity Those are only a few of the biggies.
  7. Even if you have never seen this movie, when this clip begins with a person kissing a check, you become aware of the fact that something - maybe good or maybe bad - just happened and money exchanged hands. As the scene develops, you can see the shock on the mother's face and the daughter acts even more brazen. The positioning of both actresses is coordinated with their lines. It begins with the mother standing and the daughter on the couch, then it changes to both being face to face (equal). This is when the daughter unloads on her mother, feeling she can now tell the truth because she is emboldened with the money. The daughter is then "above" the mother on the stairs and ends up knocking her mother down. When the mother stands back up, she is very rigid and back to eye to eye contact when she rips up the check. The close up of the mother with the music as the daughter goes upstairs is showing several emotions at once - disgust, hurt, shock, embarrassment, humiliation. If you did not have any idea of the circumstances, the way the scene looked and the way the actresses were dressed, it reminded me of coming home after a funeral. Somber, dark, odd. When it explodes - and something always explodes in film noir - you finally get clued in and want to know more.
  8. The hat on the bed? Oh, brother. That's bad luck. I am surprised any actor would allow it in the scene. Beyond that, no one knows where this clock is. Who is waiting and for what? When you hear the phrase "a free man", you know it's not a jail cell, so where is this? Who are these two men? The second clue comes when Ray Milland is warned about having a second run-in with the law. So...what was the reason for the first encounter? And where is he? He's leaving and it looks like he's OK to go. In addition to the mystery, we hear Milland say he wants to be around as many people as he can. That is telling us that he has been isolated for a while, but why? When we see the name on wall, we know something significant happened. Both film openings are very foreboding. Both are deliberate in the way they set us up to watch the story unfold. Both "objects" are plain, everyday things - a clock in one and children playing in the other. If these are common, why do we hold our breath knowing something bad is going to happen? The lighting, the camera angles and the quiet in-between the sound is setting the mood.
  9. This version of a detective is classic. No humor, to the point, sarcastic, one step ahead of everyone and only thinking the worst about anyone he encounters. He has the crime figured out but he has to figure out a way to make it stick. He saves the day but he knew he was going to all along. He is probably perpetually disgusted with everyone that can't keep up with him, too. I love that.
  10. Some examples to support Frank's contention are the varied and interesting artifacts in Waldo's home. It looks like the home of a world traveler and someone that likes the finer things in life. When you hear Waldo tell the detective to not touch anything, you are expecting to see him standing in the doorway, not sitting in a very fancy bathtub. Waldo establishes himself as being very (almost too) self-assured and you just know this will be his undoing. The detective is not impressed with Waldo and is there to do his job. When Waldo is reading his typed notes and explains why he has notes, the detective is already working things out in his mind. He knows Waldo thinks he is too smart to get caught and all he has to do is find the thing that trips him up.
  11. The seat covers. The seat covers!!! Those are going to make another appearance. Yup. The POV is very effective. It makes the viewer sense the desperation of Parry and we want to know why we can't see him. Great film noir "bait".
  12. These two men know each other, work together and trust each other. You just know something is going to happen to test or break the relationship and it will most likely be a woman. The train is Lantier. They like each other and depend on each other for their pay and their lives every day. That's an intense relationship so the story is going to be just as intense. The train speeding and then slowing down to pull into the station is symbolic of the high point of the movie and then the ending.
  13. The fact that Bette Davis emptied the gun is significant to me. She ran through every emotion in less than five minutes. Hate, fear, relief, shame, reconciliation, guilt, acceptance. We have to find out what made her kill this man knowing there was really no way to hide the shooting. The bright moon being covered by clouds and then the clouds moving is symbolic of what happens in the movie - truth being covered by lies and then the lies are replaced with the truth. On a totally unrelated side note, I liked the doggies the workers had.
  14. My first thought at the opening of this film -- How did these kids know about this "man"? They had to hear adults talking about him in order to play their "game". When the woman says that it's good to hear them regardless, you already know something bad is going to happen. Obviously, the "man" knows how and when to pounce and the parents are not really paying as much attention as they should be. This is the usual film noir beginning. You just KNOW something bad happened or is going to happen. You just have to wait it out to get all of the puzzle pieces.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy
×
×
  • Create New...