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Everything posted by moovipassion2

  1. Welles' entrance is so effective because he appears from a darkened alley into light cast from an upper window dwelling that has opened by an angry woman.She begins shouting angrily at Cotton,below, because he is shouting loudly at the dark shadowy figure (Welles) following him in the alley way.To Cotton's surprise it is not a spy but the friend he assumed was deceased smiling back at him. The scene appears realistic due to it's location;the setting includes shots postwar dark, lonely,wet streets; typical European tenements; lowly lit street lamps,all of which help to elicit feelings of a ver
  2. The entrances of John and Lana are staged to appear as if fate has brought them together. Their love is bitter-sweet and powerful. It is the kind of love that will destroy anyone and anything that dare to tear them apart; fate has brought them together and only fate can separate them or destroy them. There are a lot of devices placed about that suggest a romantic relationship is brewing. For example,a 'Man Wanted' sign;An 'Oil Sign' close to it(subliminal sexual suggestion);John's reaction to Lana when he meets her and hers' to him;John speaking of his new beginning,just to name a few. Joh
  3. The difference between the two entrances is that Lorre exists the elevator into the hallway walking into a moving back tracking angular shot; as he provides us with thoughts (unimportant to this scene) with his dialogue except to give us a glimpse of his personality;as he unlocks the door,a low angular 3/4 shot from the camera allows us to not only see a bit more of his face but a reflection of his shadow upon the door as well. We now know that this person is sneaky and is not to be trusted. Greenstreet,however enters from within the room from the bathroom; coming out of darkness into the lig
  4. In this clip we see many elements of the noir style in the characters, the dialogue ,directional composition and visual motifs. At the beginning we get a voice over/narrative of Mitchum that was taken from the documentary style to add to the new dynamic way of telling a story. A long wide angle aerial view contributes to the visual motif we're learning about from our current readings. Kathie's entrance from light into darkness, particularly, we see the bright light (soft focus to low key light) leave her face which is an indication that there is something a bit dark about this character;there
  5. Marlowe is established as a cool,clever,methodical detective with an eye for a pretty face. He's been around the block a few times; so he can clearly see through a seedy dame when he meets one. He's alert and has his eyes and ears opened at all times---he's nobody's fool, he'll tell you exactly how he feels whether you like it or not; even if he loses his job because he's been 'insubordinate.' The difference(s) seen between the two characters is that Sam Spade is more like the alter ego of Phillip Marlowe. The opening of "The Big Sleep" pays homage to the film noirs,in that, it flows w
  6. From the voice-over narrative we are made to feel like we are being provided with informative information about our food supply & resources. Yet, we are also made to feel the the despair of the farm workers who maintain and supply our food.A large aerial view of the vast agricultural land allows us to get a sense of the tedious and laborious work endured by those who work these Imperial Valley farmlands and the troubles they encounter seeking better employment opportunities in order to provide for their families. Documentaries add a realistic perspective.They often utilize the voice ov
  7. In this film we see the influence of German Expressionism in the opening act. We get a feel of the typical film noir style with the use of low key lights to create a dark scene. Shadowy figures and low mood of the characters, as well as, the inclusion of seamy characters that are meticulously placed about the scene to invoke feelings of an eerie, uneasiness that something is about to happen. A shot of a cafe/diner late in the evening... could be anywhere in Small Town, America. The props,the low activity and somber ambiance of the people in and outside of the cafe is classic of what one might
  8. Rita is a lighting volt in a storm in this scene,she uses every part of her body to tempt, invite and seduce the audience, particularly, the men. She knows she is getting them stirred up sexually and they're ready for whatever this bombshell dishes out. Unknowingly to all her willing potential playmates, she is using them just to get under Glenn Ford's skin. I believe she does this for two reasons; (1) to see if he has feelings for her still; (2) to hurt him by exposing her past life as a stripper or hooker--we don't know,but we get that her previous life involved solicitation.And in what bett
  9. I don't believe the element of surprise was what Wyler was trying to establish here in the opening scene. I do believe that he wanted to incite a feeling of anticipation by showing us an eerie, cold, full moon. Instead, he plays on the audience's general knowledge of urban legends/folklore to establish those feelings. A slowly moving camera pans in closer to the scene to give us a sense of the setting for what is about to happen. The camera shot of the dwelling of the indigenous people provides us with a glimpse of their living conditions. To have them live so close to the main house is to
  10. The noir influence is definitely seen in the character of Veda,but there is something dark about the mother,too. I think that Veda is the mother's alter ego.I believe the many years of enabling Veda served two purposes;first of all, the continuous feeding of indulges of the lavish lifestyle to her daughter satisfied the mother's drive of being a better mother to her children than her mother was to her. The more she sacrificed and gave all she had to them,she believed they would repay her with endearing love--and if they didn't,it meant that she wasn't working hard enough or sacrificing enough,
  11. The high-contrast lighting,the movement of the clock's pendulum swinging back and forth,and the film's eerie music comes together in such a way that it causes anxiety in the audience as in the film "M." However, the slight difference was the fear that something was going to happen to someone else---the children in "M,"so you wait in anticipation for the 'I knew it, I told you so!' moment to occur; this film,invoked more tension, in that, you didn't know what or to whom it was going to happen to, at the opening---I loved it!I also thought that it was pure creative genius in having the camera sl
  12. What makes Marlowe 'a new kind of detective' is how he projects himself. He is a cool,street-wise,forceful, smart detective who doesn't mind getting his hands a little dirty when the opportunity arises (to coin a phrase), "to partake in a piece-of-the-pie,". In the opening shot we see his cool demeanor in how he places the pen back into the elevator boy's shirt pocket; exits the elevator in deep thought about something much more important to him than acknowledging the elevator boy's trivial remarks. As he enters through his office door, he is bombarded by a strange woman pretending to be a re
  13. I believe that Frank's references to the film being " a character study of furnishings and faces," is in the overt lavish style of the room's decor. As the camera pans around the room we see exquisite paintings, sculptures,crystal and a wall ladened with masks of ancient gods/ goddesses. As the camera opens to the two characters (Lydecker and McPherson) dialogue,we are better able to see into their personalities by the way they talk to each other and in their facial expressions.From Lydecker's narrative we assume that he is a wealthy, pompous,well bread,elitist. When we see him,all of our ass
  14. The opening scene is explosive. It immediately awakens all of our senses of sight and sound to a riveting train's screeching whistle as it charges down the tracks. We get a sense of how fast it is going from the sound of steel and metal grinding together as if, we ,too, were riding along with the conductor/engineer and the pounding of these metals could be felt beneath our feet. The urgency for the train to reach its destination at a specific time is depicted in the scene where one of the two men on board, open the belly of the engine to a firey inferno feeding it coal propelling it's force
  15. The combination of words that I would use to describe the clip are:(1)suspenseful; (2) eerie; and (3) tense.Lang creates these emotions at the very moment the clip opens with just the sounds of children playing---without actually seeing them we immediately wonder where the children are--- but just before our imagination can get the best of us they appear before us amidst this bright focus light.We are eased in seeing them but as we focus in at what should be sounds of normal childlike laughter and game-play,instead, we hear them engaged in morbid play.Feelings are further perpetuated by the
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