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SwooningOverCinema

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Everything posted by SwooningOverCinema

  1. It's established that Humphrey Bogart is Philip Marlowe with a clever homage to first person p.o.v. and voice over naration. We learn quite alot about Marlowe in this sequence: his name, that he notices pretty girls who show off their legs, he likes to flirt, he's quick witted and has a sense of humour - even about being short (which is rare for a man), he's a private detective here on buisiness, although he doesn't mind looking he prefers a more mature woman, he's respectful and polite to the retired General, professional, not particular about his alcohol, he "scrubs up well", he doesn't care
  2. - What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? The music moves from epic and dramatic with the titles into calm and pastoral, rising to serious again at the end. The voice over is exactly like a documentary or newsreel it seems to tell us this is real, true to life and that it's important for us to know and be concerned about the subject. Visually it is being impressed upon us how vast the expanse of fields are. and then the narrator tells us about the threat to this tranquil symbiotic world. The
  3. -What are some of the influences you see in this sequence from other cinemas (such as German expressionism) or other art forms? For example, consider this scene in relation to the work of Fritz Lang (who also worked at UFA). As well as Hopper's Nighthawks I see a bit of Norman Rockwell in the everyday Americana of a diner, gas station, pinned back curtains and picket fences. In the shot in the diner I really noticed the ceiling shadows. In the Swede's room the chiaroscuro lighting from German expressionism - definately some UFA influences. And in the Swede's room the feeling of being trapp
  4. Marlowe is a new kind of private detective- he is rougher in his demeamor, unlike Nick Charles and other '30s detectives he has abandoned defferance to manners and conventional politeness in his determination to get right to the truth. Anne Shirley gives him reason to be suspicious and he locks her in the room and twists her arm - not subtle or gentlemanly. This new kind of detective fits well in noir because noir is visually and thematically dark, gritty and realistic, its subject is the darkness of the human soul and murder which is often violent. It needs a detective who can hold his ow
  5. Mildred Pierce reminds me of Shakespeare's King Lear both he and Mildred are blind to the true characters of thier daughters and are shaken to the core with the shock of realization, (also the fate of the younger daughters who are true of heart). 1)How do you feel the noir influence operates in this scene from Mildred Pierce? 2)How does Curtiz arrange these two actresses to heighten the tension of the scene? Pay attention to how they move and how they are framed in the scene, especially the use of close-ups. 3) In what ways can this scene from Mildred Pierce be considered as an importan
  6. M and Ministry of Fear both have very empty opening shots which give a sense of kenophobia and claustrophobia like the unreality of a nightmare. Both clocks give thier respective watchers an anticipation of something good. In M the anxiety builds with the inevitability of what will come and we know exactly what horror awaits Elsie. But in Ministry of Fear the shadows are lessened, Ray Milland relaxes and is released from his confinement, we have a foreshadowing of trouble ahead (London is being bombed and he is warned to not get in anymore trouble with the police) but we are left with many que
  7. ~ What examples do you see that fit with Nino Frank's contention that Laura is a "charming character study of furnishings and faces"? The camera pans around the lavish apartment in deep focus slow enough that we get a really good look at the decor; it is not ignored, out of focus in the background, merely there to set the scene. Lydecker informs us twice how priceless these items are, this and his style of choice are key to informing us about his character. We also get a good look at the 2 men in the scene and can easily read thier expressions, and there are statues and masks adding to the fa
  8. The use of 1st person POV was successful 1) it was a good solution to needing a pre-plastic surgery face. 2) it is unusual, piquing one's interest. 3) it draws you in, helps you empathize with him (not that I ever need encourgement to root for Bogart). 4) being made to wait to see his face increases the suspense. 5) it was so skillfully done. The use of 1st person POV added to the tension of the scene, by putting us in Bogart's shoes we feel as though we are the ones in danger, anxious about being caught. And the restricted field of view heightens the feeling of being hunted; hearing siren
  9. To see the murder almost immediately is unusual and to know who did it is still a new thing in 1940 (long before Columbo and Motive). This shattering of peace and calm of the exotic tropics feels very accurate to life. In the middle of our mundane routines unexpected catastrophe comes along and smacks us upside the head, it wakes us up and all our senses are shocked, often in disbelief we are left with many questions about what happened and why. Bette Davis appears very calm and controlled until the clouds part and the moon illuminates the aftermath of her actions, the reality of her sin
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