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E_LILLOCK

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About E_LILLOCK

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  1. To me, the opening shot is signature noir with the long shot setting the scene of some place we don’t know about yet, onto some characters we don’t know, who are involved in some situation we don’t know about, and all at night. The characters are so noir also, they are fiercely intense, their assignation is so dangerous and illicit that we must ask ourselves “what is going to happen next”. Many films noir share this common formula, plus this opening has two noir icons, Burt Lancaster and Dan Duryea immediately present. Just the actors alone set the table for the ensuing action. All the Daily
  2. This scene’s most predominant feature is the cutting between the faces of the characters in the scene. As the light shines on each of the characters, we see the arc of the swinging light illuminate first one part of a face and then another as a smooth panning motion completes the shot. Particularly effective for me was the cutting to tighter shots as the light swung about the room and shone on the characters' very expressive faces. Also I really came to notice how the actual beating was happening out of view but the sound was clear and present at all times, even the droning music accentuated
  3. The opening scene in keeping with the title shows a police car prowling the city streets. We know we are in the Asphalt jungle because the police car's prey, a man moving amongst the columns of some kind of overarching building flits in, around, and then behind tree-like posts to stay just out of the view of the police. The cityscape easily becomes the metaphorical jungle in the viewer’s eye and the man is trapped to be served up as an American meal to the audience. Huston clearly wants to make the viewers think about the comparison between the city and the jungle right from the start of the
  4. Daily Dose #28 Elevator to the Gallows response (7/23/15) The central focus at the start of the clip is the extreme close up view of Florence, intercut with the close ups of Julien. The conversation about love is the main point and we viewers come to think that ”love” is so personal, and so important to the characters, that it extends then to each of us as a global, all encompassing, all important issue. The shot pulls back through the conversation and we come to see how small the characters are and how insignificant their love may be as we see Julien placed in the room on the upper
  5. I saw Double Indemnity yesterday afternoon with about 6 or 7 other people at Cinemark Tinseltown in Rochester NY. The film stopped streaming about midway through the show and a prompt popped up that identified the movie as being streamed from some source. The break??? lasted about 5 minutes. That was when I realized I was watching a really a bad print. After about 5 mins. one of the patrons had called the main office of the theater, someone came and rebooted the link to continue the movie streaming. Too bad the film was completely grayed out with the night scenes (especially on the train) a
  6. Daily Dose #23 Martha Ivers response (7/16/15) From the start of the scene, it seems that Walter is wary of Sam for some unknown reason. As the actors talk, Sam seems to be direct and to the point ...explaining what he wants. His girl Toni is in jail for violation of probation and he wants Walter the DA to help her out of her predicament. Walter is not sure he can fix that problem but Sam believes Walter can and will “for old times sake”. Walter’s facial reaction is curious, as though the request is some kind of veiled threat. The staging is fixed as the scene starts with Sam sitti
  7. I have always liked this scene because of the rolling lipstick presaging the end of the movie in such a neatly closed circle. I also believe I finally have an acceptable reason for the white outfit Lana Turner is wearing - white hot, as one of the comments pointed out, is the most destructive and fierce part of the flame that is lit up here between the characters. The noir checklist is all checked off in this initial scene and Cecil Kellaway as Nick the dirty Greek is just so endearing that I don't care that he is not played as Cain wrote him. I also learned ...thank you very much... w
  8. The shadow across the Sternwood door in the frame, the hand pushing the doorbell to the Sternwood residence, the self-introduction, “…My name’s Marlowe…” then the door opening - all this put us in the action and gives us the brief effect of a voice-over narration. All the noir you want, all the time, right from the very beginning we see who Marlowe is and what he is doing. This guy Marlowe is not Sam Spade even though Bogart plays both characters. As others have pointed out, this is a more refined, genteel man, a man who can live in a variety of circumstances and remain self-assured, confi
  9. Richard, et al. First post for me .... Certainly documentary style is clear here. I think the realism of this intro is in keeping with the Pathe newsreels we often see on TCM. The diagonals here are a great visual as though "cutting" through the narration but the voice-over narration is really the "arresting" feature to me. Somehow the omniscient narrator is so authoritative, and when the scene changes, I am ready to know and accept why these braceros are caged like this. The "unfortunate" people behind the fence are like prisoners here, clearly being held away from us, the viewers to the s
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