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About fletcher608

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  1. Dramatic scene -- the hook -- before the credits: How new was that? One thing that struck me in watching this scene, in the midst of a lot of others from this era that I've been watching, is that the movie doesn't begin with the credits. It begins BEFORE the credits. Today that is the norm, but movies of the 40s into the 50s started with about 2 minutes, if that, of opening credits. They were standard and straightforward and told only the basic info. No flash. Font was about the only "innovation" they allowed themselves. But Kiss Me Deadly begins with a scene: the woman flags down a car, then the woman gets in the car and they drive. Only then do the credits roll. Much has been said about how they roll backwards, but my question is whether the scene-before-the-credits idea was brand new in this movie or if it had been going on for a while? Anyone know?
  2. Limes' Escape: Not realistically possible. The Third Man has been one of my favorite movies for a while now. One thing I never noticed, though, is how Harry Lime literally disappears into thin air. I watched the scene twice just now (after seeing it numerous times on my own) and only on the second time today did I notice that there is absolutely no way (in a film that is on the surface extremely realistic) that Harry could have run away from Joseph Cotten's character. Watch it again: The light goes off, Cotten crosses the street, a car interrupts him, the camera cuts to a side view (no sight or sound of Lime), and he crosses to the doorway where Lime is no longer. Only then do we hear the footsteps. But even then there is no sight of Lime escaping, as there most certainly would be, even in the dark. Far from calling this out as a "mistake", I would say, to use my new vocabulary from this course, that a formalist "escape" was at work in a realistic work, emphasizing Limes' large than life qualities, played perfectly by the larger than life himself, Orson Welles.
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