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About maryannlewis

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  • Location
    West Melbourne, FL
  • Interests
    writing and shagging
  1. For the record: I am in awe that you successfully ran a class for more than two thousand students. That is madness and amazing! Thank you for sharing your knowledge and expertise. I will never look at movies the same way again - and that's a good thing! Thank you again!
  2. Is it wrong of me to want the story to follow the maître d'? He had the best line.
  3. The music as he closes the shades is interesting. Whereas most noir films rely on horns, usually a saxophone or clarinet, the music is a flurry of violins and flutes. It adds an unsettling layer to the scene. Louis has been smacked, so after all these films and clips, I expect some heavy “DUM DUM DUM” sound. Instead, it sounds like frantic fairies looking for another hit of meth. I understand it’s supposed to cover the sound of the beating, but it’s a unique choice. Seeing the impact on the guards playing cards has a greater impact than if I saw the beating itself. One gets made. Th
  4. As I watch this scene, which is scary, I wonder the impact film noir has on modern cinema photography. It’s wonderful visual story-telling; only a few punches are seen on screen, but leaving the violence off screen relies on the audience imagination (which is always worse). I know I’ve seen plenty of scenes shot like this (though none are floating to the top at the moment). I will say this: this class has changed how I watch movies.
  5. The empty streets, with the police car rolls by and the man (whom I am assuming is Dix) walking around the corner, give an immediate weird vibe. Not only does the music raise the tension, the unsettling emptiness of the visual scene does the same. And how the police car missed Dix is beyond me. He is the only person on the street! Anywhere! “Hey, Frank, dispatch says they're looking for a guy in a dark suit.” “I bet it was the only other human being we saw today! Let’s go!” And sweet Freya Almighty, the cops went from the door to Dix pockets without a fine how-do-you-do! Neith
  6. I don’t know much about jazz. However, I will say this: I find its steady beat and dissonant horn complimentary in the clip. It’s slow and sultry tone continues the conversation between the man and the woman as the camera pans away from him in an office-like building. You know they are talking sweet, sweet love on that phone. What I know of jazz, which is from a Spotify playlist, makes me think of smoky, poorly lit clubs with femme fatale singers and gangsters in corner booths, which are prevalent styles of film noir. It is dark and dangerous, often twisting and turning on Fates’ whim
  7. White picket fences: I will never look at them the same way again. Midwest and white picket fences have come to mean a 1950s noir film. How normal everything looks with the band playing and the kids playing. Right there, I know something horrible is about to happen. (Side note: and why I have trust issues.) Focusing on the shade’s ring while Robert cleans the screen, focusing on the mundane while the action happens in the background, and focusing on the mirror to see Robert put on his coat behind the open closet door is a noir style of filming. It sets a mood. Queue the musi
  8. The opening credits are very noir: night shoot; bright light piercing the dark; no music, only sound effects. These seem to be traits of later, 1950s, noir films. I would know this was a noir film, or trying to be a noir, in the first twenty-five seconds. The dialogue at the train station seems very noir; the tough guy brisk and clipped words. The porter spoke better English than the detectives. “What about this dame, Mister Crystal Ball?” I can hear hints of Scarlet Street’s Edward G. Robinson in the delivery of that line. “Sixty cent special. Cheap, flashy, strictly poison
  9. It’s pretty well lit for a noir film. However, the shifting camera angles, with the center of attention, are off center of the screen, falls in the noir style. And if I didn’t know better, the music sounds like it inspires the music for Dragnet (Gasp! Television, I know). I do like when the armor car arrives, the audience watches along with Tim, a nice angle shot over his shoulder; dynamic camera angles make me think noir. Tim has the perfect vantage point to see the comings and goings at the Southwest Bank (though I am guessing The Baker below his window plays some small part later on
  10. Noir style: dissecting, angular lines from the ring ropes in the very opening shot; low key lighting on the boxes in the ring for three-quarters or head and shoulders shots; Noir substance: By watching the fight in the middle of dinner, Ernie is breaking from the Pre-WWII and WWII family conventions. He is going against the grain of what society expects, and he isn’t conforming. Eddie is down on his luck, trying to save to make a better life and Pauline is the femme fatale that married him, unhappy with her lot in life as a wife – a working wife (gasp, the horror!). ~~~~~~~~~~~~~~~
  11. Walter’s stare never waivers from Sam. Sam breaks eye contact as he talks. He moves his head after lighting his cigarette. Sam talks with his hands while Walter doesn’t move. He holds the cigarette lighter still in his hand. Also, Walter’s suit has clean lines, well-pressed, and square shoulders. Sam’s suit and tie are wrinkled. Walter is studying same intently, trying to figure him out now that he’s return. Sam, if he notices, doesn’t seem to mind. He’s cool and relaxed. It makes me think of a chess match between a challenger (Walter) and the champion (Sam). Side note: I lov
  12. <Start Commentary> “We lost him. Slow down. I’ll take the wheel.” Are you kidding me? That woman raced down a windy road at high speeds and lost what was probably an expert driver. Sit down, Alan. Geez. </End Commentary> The visual difference comes in the lighting. Unlike the clips from last week, I can see the hills and the road. It isn’t complete pitch black – only twilight-ish, which gives the scene a whole different feel. Twilight is magical, where anything can happen (like a big bag of money falling into the back seat of your car; remind me to purchase a conv
  13. The very first image reminds me of Out of the Past with the darkened, indoor foreground but the well-lit, outdoor background. All that is missing is Kathie walking through the archway. The attention to the mundane, the name of the taxi cab company and the beat-up suitcase are very noir in helping setting the tone, which then cause the shiny, new shoes to stand out (as the owner steps into a dark gutter). That attention to the mundane is played again, only this time it is dreary shoes stepping into a better lit gutter. At a minute and twenty five seconds, the audience can see the conflict c
  14. As Frank walks down the hall, I’m struck with how well lit this opening is as compared to the other clips this week. I can see the walls, columns and archways without issue, but the soft, low key lighting is present. And it’s the bright light of the lamps and the symmetry of the walls, columns and archways that give the same sense of isolation that the darker openings of the other clips. Much like the opening scene of Kiss Me Deadly, the main character is alone and searching for help. Also, unlike the other opening sequences I’ve seen this week, there is music. Building, swelling, pou
  15. The opening scene was shot for the big screen. My laptop monitor is only thirteen inches, and it took me until the end of the credits before I could figure out what the patch of hatched light (huge theme in noir film) was. No musical score and sound effects goes against the typical Hollywood moving, unsettling the audience while setting the tone for a bleak, desperate movie. When the door opens to reveal a woman, its tough guy talk that the audience first hears. “Pile out you tramps. It’s the end of the line.” That line sets the movie up to be an existential film noir. The look on he
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