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About Cinemapeg

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  1. Freedom is often assumed to be associated with freedom "to" but equally or possibly even more necessary that noir details is freedom "from" and I am enjoying how cinema and the varied studios and artists are dealing with these points. Also, you ask a good question about "bad versus flawed." This time period of filmmaking certainly spotlights and acknowledges the struggle of the individual adjusting within the context of an increasingly mechanized/industrial/corporate world and begins to address the interior of man; the duality of the human brain---logic versus imagination.
  2. The Window struck hard at the idea of crushing imagination, using the character of a child to exemplify the expectation of the adage "going along to get along" in the post war years. I found this a fascinating well-done noir, with the sets acting as character to build great tension. Plus, the early example of the latch key kid, many years before the term was coined. The Bribe was a fun exploration of another tumultuous relationship, with the stars of their day in their roles a treat, in shadows and heat and the pain of sore feet. The Clock seemed a stab at class, again, the story of a
  3. I couldn't help but think of your prototypical Western standoff when viewing this clip. Staging helps a play a part in that feeling. I got that feeling too, and I keep returning to the scene when he enters the room, Greenstreet not only has the gun in his right hand, but the object in his left hand and the way he holds it resembles another gun--like he needs more power. When Lorre decides the intruder is not much of a threat, he sits, and Greenstreet immediately drops his weapon; the secret to camaraderie is the shortcuts friends take, in speech, action and body language; Greenstreet
  4. The documentary-travelogue style opening, voice over and sharp dialogue about the "90 pounds of luggage" all set up the noir elements presented. Then the perfect lighting for Greer as she enters the cafe and following Mitchum's almost desperate description of his days spent waiting. Viewers know he is in trouble. After she seats herself, she casts the shadows, and the coin innocently dropped seems to symbolize the gamble he takes. The fact that she never smiles, never responds except by keeping her eyes locked on his in a challenge of sorts, plus she indirectly warms him, doesn't deter h
  5. Odd, I know, but don't own a dvr, but watching one movie after the other this Friday just has me laughing: 1- I want to call out to to "Johnny" or "Nick". 2- I expect to see the world represented in plays of light and magnificent shadows. 3- I keep waiting for the tension creating music in the background of my day. 4- I should find a beautiful 40's coupe or a '49 Ford Vicki to be parked in the driveway. 5- I thrill at the view of earlier times in different locales and cities, from Boston, San Francisco, to LA, and the Imperial Valley of California. 6- I can feel as if money has real v
  6. Bogart's portrayal of Sam Spade seems more casual, both in terms of his attitude and his relationships, while the Marlowe portrayal appears to be more grounded, more serious about doing the right thing. Further, he understands the level of danger and in mature fashion willingly expresses his fear "Angel, I'm scared." I am not sure Spade could admit that as freely and easily. That statement by Marlowe to his lady, also proves his trust in her, something Spade lacks with his lady, whatever name she uses...she is definitely not to be trusted. In light of comments alluding to the re-shot sc
  7. Documentary style narrative opening on water, on the American Canal, intersecting and the lack of vegetation or life ( except for the 2 vehicles) reveals the conundrum of real versus artificial. There is the man-made canal to create an oasis of vegetation in El Centro and Imperial Valley, and hear the facts as we are being flown above. By the end of the clip we seem closer to earth, able to see the workers in the fields,and the lovely vectors in angles of those fields, and finally, we are separated from the people by fencing, also angled, and most of them are focused on something we do no
  8. The term that follows this opening is one of "hope" - the diner we have all come to know, familiar, comfortable serves as a realistic refuge, begins with the customer hoping to get a meal, which doesn't happen. The angle of the camera from outside the diner, as the angered gentleman leaves, the slamming of the door countered by the calm exuded by the owner and Conrad's character, creates a sense of unease. Back inside the lighting, the snappy dialogue by the men looking for the Swede creates more tension. As the young man leaves to warn the Swede, noir in spades, the repetition of the shor
  9. A beautiful woman in the black satin strapless gown, Gilda, literally and figuratively removes the gloves, setting up the fight with Johnny, following her steamy tour de force performance in the nightclub. Her drunkeness is apparent, and as with many cases of women being at a disadvantage when under the influence of alcohol, she goes too far, offering to remove her dress when the song is complete. She sets herself up as the next "disaster" for although she maybe a femme fatale, I wonder if her drunkeness doesn't make her more of a victim, since she is not in control, and is demonstrating
  10. Daughter, relaxed, reclining versus Mother, intense standing. The varied positions the power of facial stone faces up close, show how "far" apart these characters are in terms of morals, while they stand face to face. The most telling moment I'd when the daughter says to her mother "Oh, grow up." Once again, the noir questions begin to hum: why can't money solve problems? And, why does this girl who " has everything money can buy" need to get away from the mother? It seems the daughter is seeking "class" the issue of "gentrified" versus "new money" and once again we are asking q
  11. Clocks, again, time is a constraint, we feel the pressure of an ongoing repeating sound, and the character's comment about watching a minute pass is understated since he has been incarcerated and is waiting to be freed. The high angle as he leaves the asylum, is the omnipotent position, seeing all, and the squeak of the gate gives us a glimpse of the imperfection of man's creations. We are pushed into a medium shot to hear the doctor provide a warning, to which the Ray Milland character responds " a quiet life for me" which is in juxtaposition of his earlier declaration that by going to Lo
  12. "Soaking in noir" -- very catchy. The introduction taking us directly into the center of this noir, begins with the viewer immediately having several questions, following Lydecker's voice over, which is a key in the great noir examples. First the detective in introduced, leading the viewer to further questions. The "masks" as mentioned, Lydecker's clock versus McPherson's watch all demonstrate class distinction; the gumshoe and the Hearst-like collecting Lydecker. The clock, the music conspire together, creating a noir sensibility. Between Lydecker's obvious skill with writing, and the
  13. Recalling how cameras lacked mobility, the POV for me, works. I am sure with today's smaller cameras, that many folks may not appreciate the technique. Like others, the limitations of camera when using character POV always unnerved me for the lack of peripheral vision information I am used to, but now, that lack becomes part of the tension being built up, and shouts noir to me.
  14. Sounds: the locomotive wails as a needy child, and makes so much noise the engineers have created their own secret language-much the way gangsters create a shorthand. The consistent, insistent, and repeating cacophony, crass in contrast to the music. Tunnels: light to dark, and back again, the noir example of the camera staying through the entirety of the dark tunnel, allows the viewer to question, what's next? Into the tunnel straight on, coming out directly into a curve signifies veering away fro the norm. Train track: where it leads, they must follow. There are no choices in the ine
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