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Film noir runneth over on the schedule lately


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Did you notice how much of the lighting was noir? I saw maybe 10% max or less, the use of mirrors a few times but really only the ending was noirish to me.

 

Not much, this is a good example of a film where the characters and their actions are what drives it into the Noir designation.

 

Me, personally I like the Stylized Noir lighting and the sleazy Diegetic Noir World to be depicted, and this film barely has any of that. But it does have two great Femme Fatales "sisters under the mink" that makes up for it.

 

B-)

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There were certainly no scenes that were reminiscent of anything in Philadelphia.

 

probably because it was all shot on a sound stage and or in LA, which is too bad, because if they had gone to Philadelphia and shot some actual exteriors it would have improved it even more.

 

Edited by: cigarjoe on Oct 16, 2011 3:58 PM

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MovieMadness and cigarjoe, come on, guys, the "million dollar trust fund" is of course the suicide note, the letter that Duncan writes and leaves on his desk just before his suicide, which Mrs. Duncan finds and uses for her own purposes, i.e. blackmailing the gangsters. Banion meant that such a letter was just like a million dollar trust fund, it would produce money for Mrs. Duncan almost as though it were.

 

Yes, ok, MovieMadness did figure this out in their second post on the subject - but surely it's obvious from the start, I knew that's what Banion was talking about, and I don't always "get" plot subtleties.

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Thanks misswonderly, I haven't watched it for a while, that is why I said I didn't remember that reference on the trust fund. However in the novel when O'baninon questions Lucy she tells him Duncan was the happiest she remembers since she'd known him (she at least doesn't believe he commited suicide and he was happy in his decision to come clean). Is that sequence in the film fresh enough in your mind to confirm this?

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Okay. Noir/Cradle Robbing Alert. 12 midnight. Pushover (1954) with Fred

and Kim. Looking forward to this, if only for the reason I don't think I've

ever seen it before. Sometimes I tune in to watch a picture that I think

I haven't seen and it turns out I have. I'm pretty sure I haven't seen this one.

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I like *Crossroads* a lot, like many other earlier (pre *Double Indemnity* ) films it does have some "noir" elements. This could have been a good Hitchcock film too. If *Crossroads* had been made in the late 40's it might have been done a lot darker, grittier, like a true film noir.

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Pushover turned out to be a pretty routine flick. It started out

well, but all those stakeout scenes grew old pretty fast. Fred

didn't look quite as old as I thought he might, so his romance

with Kim wasn't totally unbelievable, just slightly unbelievable.

It is movies like this that demonstrate the idea of genre bias.

We will accept a rather average movie as long as it is in one of

our favorite genres and overlook its faults to a certain degree

because of that. I suppose you could call this a poor man's

Rear Window, but that isn't quite fair. I didn't notice Fred was

wearing a wedding ring, probably too busy watching him drink

a gallon of coffee and smoke a couple of cartons of coffin nails.

Overall, I'll give it a C+.

 

 

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