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About ebegley2

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  1. I live in Manhattan and would like to be included in any meetings or events you have in the city.

    I love 30's and 40's movies, mysteries, romances, suspense. 

  2. Please add any helpful links you find that our members would enjoy. Thanks for sharing! The 2019 TCM/Fathom Events Movie Schedule is here: https://www.fathomevents.com/series/tcm-big-screen-classics For NYC bus tours, http://www.tcm.com/tours/tour_ny.html For Bonham's auctions (Bonham's is at 580 Madison Av, btw 56th & 57th St) http://www.tcm.com/bonhams/?ecid=subnavbonhamsauction For contest to win VIP tickets to the Classic Film Festival: https://www.tcmbacklot.com/TCMFF-VIP-Experience
  3. Illeana Douglas, known for her work on TCM series like "Friday Night Spotlight: Second Looks" and "Trailblazing Women" and the granddaughter of Melvin Douglas, is also an actress, writer, and producer which brings more authority and authenticity to her delivery of Intros and Outros.
  4. Welcome to our New York City chapter of TCM! This is a great place for folks to post their thoughts, suggestions, opinions, and start any topic as well. For example, of our 70 members (as of 1/6/18) we know that many are from New Jersey, Long Island, and even Connecticut! Well, here in this forum, we could have a topic titled "New Jersey movie group" for folks planning any movie viewing in the Garden State. We also know that members who work in Manhattan get together at times for conversation; we could call that topic "Monthly Movie Talk Meetings" or something suitable. Some of
  5. 1. How does this opening sequence establish Humphrey Bogart as Philip Marlowe? What do we learn about Marlowe in these first few moments of the film? He is self-assured in dress, manner, and voice. A man of many quips who gets the lay of the lay yet doesn't seem phased by it, nor impressed with himself as a keen observer of character. 2. Do you see a difference in Bogart's portrayal of Marlowe compared to his performance as Spade in The Maltese Falcon? Yes, as Spade he blended more with the slithery background music that introduces a would-be femme fatale and he almost submits to his
  6. 1. What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? Visually, we are shown a peaceful, orderly landscape -- the natural one of farms and waterways, plus the human peaceful, orderly landscape of braceros awaiting entry to work the land. The mood of the narrator, however, anticipates something going awry as he voices the fact that most workers from Mexico follow the laws, implying that this movie will show a "border incident" focusing on injustice. 2. What do you think documentary realism adds to th
  7. 1. 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). Contrasts of light and dark; encroaching, unavoidable fatal fate; close-ups of despair, almost resigned terror fading to a concluding relief. 2. How does this sequence shift its visual design from realism to formalism, as it moves from the diner to the Swede's room? The diner is lit; the Swede's room is not; we see the faces and reactions of the diner staf
  8. 1. What did you notice about Rita Hayworth's performance when you were watching this scene? She seems to want attention and affection from Johnny Farrell and can get it by grabbing the spotlight so that he has no choice but to react, though his reaction is all negative. 2. What are some of the deeper layers of meaning that are contained in this film noir musical sequence? The shadowy grayish areas evoke questions such as: Why won't he love her openly? Why does she love someone obviously not good for her? What is the revenge motive on both their parts? Why is she so vulnerable in wan
  9. 1. How do you feel the noir influence operates in this scene from Mildred Pierce? Noir operates by establishing the villain immediately as the daughter who callously lies about being pregnant and is unconcerned at her mother discovering the true reason underlying her avariciousness. We are influenced to pity the unsuspecting, loving mother who is so willing to throw all her support behind her child while at the same time, we marvel at how the main character has been holding her blinders so tightly that she refused to see the real Veda. 2. How does Curtiz arrange these two actresses
  10. 1. How would you compare the opening of M to the opening ofMinistry of Fear? In M the clock symbolizes the mother's workday with a cuckoo reminder of the noonday mealtime for her child. In MOF, Lang opens with not just a clock but a heavy wall clock with an ominous pendulum striking a note of fear to supplement the film title. In M, time moves quickly and much happens in the first 5 minutes whereas in MOF, time is the enemy and a man alone in a dark room staring at a clock is most of the opening. 2. Describe in your own words how Fritz Lang uses the clock in this scene as a major
  11. 1. Describe some of the things Marlowe says or does that make him a new kind of private detective? Marlowe is an actively physical detective who says what he thinks out loud, rather than holding all information close to his vest. As he speaks, he moves and "manhandles" the deceptive young woman who is seeking information about the jade. He seems to turn the tables on her, so to speak. He also knows she's not to be trusted so he locks her in his office until he culls the info from her that he needs. 2. Why do you think this kind of private detective fits so well within the film noir
  12. 1. What examples do you see that fit with Nino Frank's contention that Laura is a "charming character study of furnishings and faces?" Some examples of a character study of furnishings and faces in Laura come from Lydecker, and some from McPherson. Lydecker's narration reveals him to be a self-important, verbose snob, wedded to trappings of taste, but his "lavish" (his word) abode shows ostentation among his ecelectic collection, which includes masked faces. Or are they death masks? He wears a mask himself which McPherson sees through, as when McPherson reads him a column written 2
  13. 1. Do you feel this film's use of first person POV in this scene was successful or not successful? Yes, because we are enveloped into a man's mind immediately and we instinctively realize he might, or must, be innocent. It is also successful in making viewers feel his fear as he imagines the danger, and when he is "caught" by the driver guessing his true identity as the escapee, we understand his need to punch his way out of the situation. 2. How do you think the use of a first person POV added to the tension of this scene? We are the "I" as he narrates his journey and feel h
  14. 1. Were you surprised by what happens in the opening scene ofThe Letter? No, because I am familiar with this movie and didn't realize it could be considered noir. Directors will film one side usually, such as the shadows, or the bucolic setting. Others will show us all the "good" then all the "bad", perhaps even vice versa. A surprise here is that Wyler doesn't show us the peaceful, white bird on the fence until it is impacted by death, nor the peaceful, white dogs sleeping until they, too, awake at the sound of Death. The moon, however, and the white-clothed natives do foreshadow
  15. 1. What does the film's realistic depiction of a train add to this opening? The depiction is a stabilizing, or lulling, factor -- we all know most train rides are safe, but we also hear of catastrophes that can occur any time. It keeps us on an even keel because even when the camera views the tracks from wheel level, and when curves appear along the drive, and when the engineer and conductor exchange dialogue with directions, the road always balances and the rails are stable, under the train to steady the viewer, the riders, and the safe normalcy doesn't ever startle the workers stand
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