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jobo182

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  1. Jazz in Film Noir is always to me like the last piece of the puzzle that really makes the film. It creates a very personal atmosphere that goes right with the shadows, the faces, and the actions. Miles Davis is one of the best. This introductory music is fits like a glove, like it was always supposed to be there.
  2. And yet another film noir with a train invariably leading to his escape from that corpse. I especially enjoyed the way the music changes when he dicovers the dead body. As a veteran I wonder just what he went through in the war? The look of fear and the running away from the scene makes me wonder if he was psychologically scarred. I do not think there was much assistance for returning veterans after this war. Each individual had to make it on his own. A small city with the Salvation Amry band playing makes that entire beginning scene quite serene. And the other thing that caught my attention was the huge railroad there. So many tracks he had to run over in order to catch that train. He went into darkness too just before he stole aboard. His paranoia is haivng him believe that it is he that they will come after for this crime. Interesting opening.
  3. The train stops as the credits are over. Nice touch. The black and grayness of everything gives this film an ominous beginning. I also notice that as in the forties and fifties smoking is huge in most of these films. Even a discussion ensues about the cigar being out and the other passenger says he is going to get another brand. One that starts itself. haha. Then the bet as to what how the girl looks. The entire film from the beginning is going so fast. McGraw tells the porter to get his two bags on board. The porter then says that train will leave in an hour as he accepts McGraw's gratuity. McGraw says he will be back in time. Also, an interesting discussion about a woman that no one has ever seen. McGraw deduces that she is a dish and evil too because she was a criminal's girl. Interesting beginning. I always liked McGraw as a tough guy in THE KILLERS. He always reminded me of Elaine Benis' dad on Seinfeld (LAWRENCE TIERNEY). Both of them could have switched roles.
  4. I enjoyed the documentary like beginning and then the tension ridden timing and calculating with the checkmarks on the paper. A lot of clocks are shown. It reminds me of the Kubrick's third film entitled THE KILLING wth Sterling Hayden gathering a group to create a diversion and then rob the take from a racetrack. I will try to watch Kansas City Confidential film this evening.
  5. This was a very interesting scene. In some ways it reminds me of Robert Ryan in THE SETUP. I just bet that when Ernie was winning - it said before this fight that he was never knocked off his feet, that Pauline was riding the crest of his wave. She wanted it all and she now takes it all out on him because he lost that championship fight. Viewing it on television placed her in a state of attacking Ernie. She is so consumed about climbing that ladder of success that she now hates her husband calling him at the end of the scene a PUG. Relegated to pinning cosages and driving taxis is NOT her envisionment of success. One of the undercurrents of the post war America. I never did see this movie or knew that it existed and will try to view it on Friday or purchase it if that is possible. Quite a change for JOHN PAYNE after MIRACLE ON 34TH STREET.
  6. The tension in this scene is overwhelming. KIRK does not really want VAN to be there. KIRK does question him in a friendly manner, but the underlying emotion does not really fit his smiles. KIRK does seem faraway and unhappy when BARBARA recognizes VAN as an old friend. KIRK shows a hateful stare when VAN and BARBARA hug for the first and second time. Then there is the question of the election - from the answers given, it looks like the election will be rigged somehow. I also wonder when BARBARA close the door in this scene what will be the conversation. I will watch this film tonight and respond to it in its entirety. Other films that remind me of this midwestern city post WWII Noir are: THE KILLERS, TOO LATE FOR TEARS, MILDRED PIERCE, and DETOUR. THE POSTMAN ALWAYS RINGS TWICE too.
  7. A car on a dark tortuous road at night. The woman wishes to take charge and return home because of her perception of social class. She wants her way to the point of almost wrecking the car and possibly killing each other. A state of confusion exists for the audience. Then the other auto throwing some thing into the car. They stop and find a bag of money. Then immediately comes the blinking auto that was supposed to get that money. The woman takes charge and drives the auto and successfully looses the auto. Interesting really how she appears to want this money even if it wasn't meant for her. Again the idea of moving up in social class had to have crossed her mind. She wanted to return home because of her social class deficiency, and now with the money she will do anything to keep it. This opening does have me wanting to continue to watch this film and see in whose hands that money with end up. Another point is that whenever husband and wife are in the car back in the 40s and 50s the husband almost always drove that car. Here we have in the beginning of this film the wife taking the man's role of driver after he opens the bag with the money in it and successfully losing the auto after her. A role reversal showing the woman in charge. And later what happens to that woman. Great Film Noir. Lizabeth Scott is truly a beauty.
  8. I enjoyed how the music changed as the film proceeded. The cabs and the feet and the bringing forth the total figures but only from the back. Then the meeting and how Walker seemed to take over the scene by crossing over to Granger's table. Interesting too when the train is going it shows the criss crossing of the tracks. The music though fit in each circumstance. I never looked at this opening this way. This course is giving me a deeper knowlledge and a further interest in Film Noir. It is too bad it has to end.
  9. All these beginnings beget alienation. Whetehr walking through the police department or the hitchhiking of Leacman and Talman, all point to a dark confiused start to the film. No one knows what is going to happen but the shadows, the music and the actors exude individual malaise that will pervade the film.
  10. The oening is perfectly set with the title and the way the name on the screen change, the siren and the small barred view of the vehicle. Claustrophobic inside and I get that feeling to when the empty mechanic sound of the door being opened and the word tramps spoken by the transporter. The drabness of the of the ibnstitution and the fear and outright anomie on the face of Parker. Moorehead seems to be the tough gal who has been in there before. Intersting too that we are on the road with these three doses this week and in each one there is fear and anxiety and confusion. The feelings of Leachman in Kiss Me Deady, and the driver and passenger in the car in Hitchhiker to this one of the women inside that truck speeding to state prison all set the feeling for more bleakness and emotion to come. About the only thing needed here was the rain outside of Westgate Prison from the film BRUTE FORCE. And how about the woman in the fur coat too. Does this mean she was a call girl?
  11. This opening does play the dark clothes and the wind blowing creating a sense of alienation or estrangement. The affability of the two men in the car and then the gun pointing directly at them with the bright lighted face of Talman. This is th eexact opposite of him in another Film Noir where he played a rookie policeman under the command of Robert Mitchum. The film was called THE RACKET. I saw THE RACKET first so it is hard for me to see Mr. Talman in this HITCHIKER role. The way he orders the driver and passenger around, he seems to have done this before. He is in complete control here and the men are trying to define the situation.
  12. I found this a very intersting beginning. The credits going backwards, the running anguished woman with no time given in the dark, gives all of us viewing a sense of confusion. The first vehicle passes her by and Meeker has no choice but to almost wreck his car. Angry, he lets her in and puts on a masculine front. But at the checkpoint when her hand slips into his, he lets down his guard and tells the police she was his wife and was just sleeping. Interesting how that Nat King Cole song, "I'd Rather Have the Blues" fits in so well too. Great beginning and had me wanting to see more.
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