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ms.rachelli

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About ms.rachelli

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  1. This film is possibly one of my favorite noirs, mostly because of the use of realism in the cinematography. Having the reveal come from practical lighting is not a gimmick in this film because the cinematographer and gaffer established the realism of the on-scene night based imagery throughout the story. Plus, the score predominantly features a zither. C'mon.
  2. Although having a narration similar to Pathe News clips draws viewers in, I didn't find this opening to be very gloomy or to convey a very film noir tone. The only aspect that seemed to hint at something darker was the cinematography, where Alton's images seemed to consistently move to darker and darker, both in composition and in theme.
  3. I feel like many women's studies papers have been written on this exact sequence. Having Gilda be able to control the room with her sexualized song (incidentally also about how a sexy woman wreaked havoc on towns) gives her all the power, until someone who is immune to her charms takes her away. Then, her false confidence is shattered and viewers see her real insecurities.
  4. Has anyone seen the HBO miniseries that came out a few years back starring Kate Winslet? I'm wondering how the style and story lines up with both this version and film noir in general.
  5. I've gotta say, I've worked in reality TV in post-production and I've heard much worse than "get out before I kill you" between mother and daughter. (Probably heard similar in my personal life as well .) Could the reaction may be more in the melodramatic style of acting that was common at the time than the words themselves? I could easily picture that phrase being said today in a movie or even TV series with the actor making a choice to speak in a calm tone and have it be entirely believable.
  6. I agree. Having just watched M last night, I think the sound design was a lot more successful in creating a creepy atmosphere than the clock in the opening credits. This may be because I appreciated the sparse music with louder sound design (children playing, bells ringing, etc) instead of the very studio-centric orchestral score over the credits. I was drawn in by the "why" of the shot, but didn't have a feeling of foreboding until the camera panned to the asylum sign.
  7. I wish I could see this when Marlowe's character was a new type of detective/protagonist. The clip immediately felt familiar to me even though I haven't seen the film before. This seems like the archetype for the "throw the rulebook out the window" flawed but lovable protagonist we see in most modern day detective movies and procedurals.
  8. I love how by using the voice over we're able to not only establish the noir style, but also glean a lot of information about Lydecker very quickly. Although he spends most of the time talking about Laura, what we actually learn is who he is. We see his lifestyle, his lavish home, how he spends his down time (relaxing in the bath - a luxury), and how he feels about others. In my opinion, he's instantly unlikeable.
  9. I entirely agree. I think the POV really helps us get on Bogie's side, even though all we know about him up to this point is that he is an escaped murderer. And yet, because we are experiencing the feeling of being hunted and judged, we somehow want this man we know nothing about to escape and survive.
  10. Even though I knew exactly what was going to happen, somehow the sound of the gunshot still surprised me. The film does a good job with music, scene, and sound to lull the viewers (along with the workers) into a sense of calm, peace, and slumber, and then quickly interrupts them with Bettie Davis' gunshots.
  11. I found myself much more nervous here than with M. I think it was because of the power of the images here. It seemed like there was no stopping it - this train had an unstoppable forward motion. I also was immediately drawn into the cinematography. Seeing the point of view of the train, the mostly black shot as it sped through the tunnel and back towards the light. Although I don't have TCM, I am going to find a way to see this film!
  12. When you think about it, a lot of children's chants and games are depressing. Even chants like "London Bridge" and "Rockaby Baby" are about people falling to their deaths ("all fall down" or "when the bough breaks, the cradle will fall..."). I wonder where the precedent for this came from, and if that is why horror films picked up on using children to set an ominous tone from very early cinema.
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