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aje436

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  1. I too, thought the same thing instantly when watched this clip, in that Steve and Anna reminded me of Julien and Florence from Elevator to the Gallows. Rather than trying to meet, they are separating. Also Steve seems to be the planner, cool and calm; and in Elevator to the Gallows, Florence was the brains. Anna and Julien are the ones with trepidations. I did notice however that Anna seems to have two faces. She was this timid and deperate woman in love when she was with Steve, but when she was with Slim, her face hardened and her walk changed. Slim started right in on her and Anna knew how
  2. A calm Munsey sits in front of a petrified Louis. Though not a big man, Munsey has a somewhat intimidating presence. He asks Louis what business he had in the drain pipe and when Munsey didn't like his answer he slapped Louis. Munsey slapped and scolded Louis like a child. Now Munsey realizes he has to get his hands dirty and by looking at his appearance he probably doesn't like to, but will if he has to. His appearance is clean, his office is tidy and has a refined taste in music. The shades go down, a pipe comes out, Munsey's man leaves and the music speeds up. Louis tried hard to look
  3. A single light and a low angle makes Walt and his cronies large and intimidating. Walt cooly walks over to Steve and POW! We get Walt's fist right in our faces, showing us what it must of looked and felt like for Steve. Walt is so calm and conniving, trying to do anything he can to get Steve to do what he wants. -"You're in it now Steve, with both feet." -Steve tries to leave and he gets pushed againts the light, causing to swing. -"I think we can convince him now to go to the police." Walt's men start in on Steve and with the light swinging there's a panicked feeling because you don't now
  4. Foreboding music and broken-down desolate streets. This could be any city and that could be why it has no name. The maze of alleyways, rundown train cars, a mangerie of wires over the city streets, and criminals running loose....it's a jungle out there. A patrol car is looking for anyone they can, all the while a man (Dix) is lurking down a train platform and hides at the sound of the police radio. Then a call comes in over the radio, a hold up. Dix marches a narrow, claustrophobic alleyway to find solace in a ramshackle of a diner. He hands a gun to Gus to hide in the cash register. Gus
  5. In Florence's eyes and voice there is sadness, desparation, longing...."Je t'aime, Je t'aime." Then we meet the desparate Julien on the other line. Then a smile from Florence and an at ease look from Julien..."Love isn't daring." Now smooth and sultry sounds of the trumpet begin as we watch our lovers have a tête-à-tête over the phone. She in a lonely phone booth on a busy street, somewhere, and he looking a out one of many lonely windows. End music and Florence gets serious and she has plan for them both to meet. She's trapped wants to be free with Julien. "Kiss me," as she caresses her ch
  6. It's 1918 and the end of WWI. It's seems like a quiet town with the Salvation Army bringing Christmas cheer. Everythings seem fine; no post-war angst. We meet Howard, a handy man, and now you know something isn't right when he can't find Mrs. Warren. The opening of the door and the look of sheer horror tells us he found her, laying face up in the light. All he can think of is to run, but why? Now we have a man full of anxiety and desparation and doesn't want to be found out. He runs to the bridge overlooking the criss cross of the tracks. Which path to choose? Last we see him hopping a train,
  7. A roar, whistle, and bells. The train gets louder, but you can't see it. Then....a bright flash of light hits you....THE NARROW MARGIN comes out of the light. The title whizzes off the screen along with the speeding train. The loud clanging of the bells almost rattles you. Now it's calm and the train slows down, but Walter and his partner are still in a hurry. The quick-paced talk and actions of the detectives matches the speed of the train. This definitely parodies earlier noir, but maybe not so much in a spoof sort of way, rather an homage to it's predecessors.
  8. Tick, tock, tick, tock goes the clock. It's 10 a.m. in the midwestern community of Kansas City and here "the amazing operations of a man who conceived and executed a 'perfect crime'" is about to happen. Tim overlooks the morning activities of the bank and surrounding areas down to the second. Everything has been checked numerous times and everything calculated perfectly. We get to go inside the mind of a criminal and see how everything is planned out. Time is very important and every second counts. Time can also signify impending doom or danger is around the corner. "M" -- the clock
  9. Low angles and close-ups bring you right into the brutal fight. The defeated and anguished look on Ernie's face is both in the ring and at home. He is a man losing all hope with a wife who doesn't support him. The room they are in is like a fight ring, only instead of physical blows they're verbal blows. Ernie's in his corner and Pauline in her's, then the fight begins. "I'd been a star if I hadn't married you" (That's one for Pauline) "You were a showgirl (That's one for Ernie; insinuating that being a showgirl is talentless and it doesn't mean she's a star)....I could have been a champ
  10. 18 years later and a ghost from the past returns to his hometown, but from what you get from this clip is that it won't be like old times. First we meet Sam, the vagabond gambler and Walter, the tense alcoholic politician. "All life is a gamble" "...some win, some don't" "You needn't had made that point" Walter was so snarky about it, like he lost something to Sam. Maybe he won Martha from Sam, but in the end it turned into a loss for him. Sam comes back to town not just to see old friends, but what else, he needs a favor. "Just like old times sake." I think Sam will find though tha
  11. A grand archway lit in the opening leading out into the city, with cars parked facing inwards. Coming in or going out? A sense of a criss cross pattern in the entrance of the train station during the credits. A cab pulls in and a pair of fancy black and white wing tip shoes and pinstriped pants enter to light, jovial music. Another cab, and this time, a plain monotone shoe and pant; accompanied by a plain suitcase and tennis rackets. Both walking with authority and ease in time to the music. It's interesting how much you find about these characters just through their shoes, pants, and luggage.
  12. The camera pans down the massive building of a police station late a night and we see a black figure walk into the foreground. D.O.A. hits you right in the face. A man in a dark suit marches down the desolate and never-ending maze-like corridors of the police station with determination and a slight sense of weariness. The speed at which he's walking is in time to the rhythm of the music. We only see him from the back for most of the clip. He finds the door he was looking for -- Homicide Division. He sits down in front of the investigator and tells him he is there to report a murder. When aske
  13. A black claustrophobic enclosement, with the faintest signs of the outside world coming through a small wired square in the middle of the screen. That small square opening feels like a mile away and you only hear the sounds of traffic and a siren. You feel like you're trapped with the women inside, being swallowed by the vast darkness. The little bit of light you see keeps you from completely going insane. Then the vehicle stops and a door opens; the light shining on a terrified women (Marie) waiting to meet her fate. "Pile out you tramps! It's the end of the line." The camera scales the wall
  14. An isloated dark road with someone in need of help, but unlike in Kiss Me Deadly, this scene isn't frenzied at all. You still however have this feeling of angst, like something isn't quite right. We are introduced to the characters with their feet first, but we don't meet Emmett as quickly as we do Christina. Also, Christina had to jump in front of car to get someone to stop, but in today's clip the first car to come by stopped for Emmett. The only light source in both clips are from the headlights of the car, just enough to highlight their faces, only Emmett's is in shadow. We see his gun f
  15. One thing that really got my attention was the song playing, "I'd Rather Have the Blues," to me it said it all. "The night is mighty chilly/ And conversation seems pretty silly/ I feel so mean and rot/ I'd rather have the blues than what I've got..." Mike was being rather mean and nasty to Christina and didn't seem to want to have much of a conversation with her. All he could worry about was his car and seemed rather put out by her. So many emotions: angst, frenzy, erotic, anger, and saddness. You have the soothing sounds of Nat King Cole with the erotic panicked gasps from Christina;
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