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Essay on Movies
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A big film noir that hit the big screen during the film noir period was, Double Indemnity (1944) directed by Billy Wilder. Film noir was a style of filmmaking that became prevalent in the United States after World War II. This film style, “used harsh shadows, flashbacks, and voiceovers, and would usually show a fatalistic view of society.()” The film Double Indemnity was a success with the use of the stylistic techniques of film noir by using: harsh shadows, flashbacks, voiceovers, and showing the inevitable.
The movie began with a dark shadowed male who is on crutches walking towards the screen. This showed the use of harsh shadows. The main character Walter Neff then begins explaining the events that led up to said now. He uses the effect of a flashback to vividly describe and show what happened between the events of the past leading up to the present. He uses this effect to explain his tale
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of murder and betrayal. The technique of voiceovers was used throughout the movie to help explain the feelings and the thoughts in his head that viewers would not have been able to know, had he not said it. A specific part of the movie where he used a voiceover was his first encounter with Mrs. Dietrichson whom he thought was the most absolute stunning woman there was. The mise-en-scene of the movie showed the use of lighting, the setting, and the different costuming.
Throughout the entire movie the lighting of the movie was a very dim low light affect. This gave the movie a dark cynical feel to it. The movie began with a dark shadow then ended in complete darkness. This particularly could entail that what’s done in the dark must come to light. The setting of the movie took place in Los Angeles. The scenes would typically shot in the dark, which is stereotypically the time that crime takes place. Billy Wilder’s use of costuming for each of the characters correlated very efficiently and helped the overall storyline. Phyllis was always portrayed on having seductive clothing such as the beginning of the movie where she was standing at the top of the stairs. This part she had only a towel on. This showed the first phase of seducing Walter. Mr. Dietrichson’s wardrobe was completely opposite from wealth, but he looked as if he was sleazy and a slob. Walter Neff was always portrayed in a suit, which shows that he was always business
professional. This movie fits into the film noir category very efficiently. The movie used all of the film styles and techniques throughout the entire movie. In the movie it portrayed the other main character Phyllis Dietrichson as a femme fatale. Femme fatale is known as a woman who is attractive and tends to bring disaster to a man who becomes involved with her; Phyllis was just that. Phyllis Dietrichson seduced Walter Neff into becoming her accomplice in the murder of her husband. She not only brought disaster to one man but two, which was her husband and accomplice. Phyllis used both men to get money. This showed her greed for money and the thought of wealth. She loved neither of the men and only used them to gain what she wanted, but in the end; she ended up dead. The film Double Indemnity overall was a passionate, fatalistic, murder mystery that kept you wondering what’s next. I was not essentially expecting this movie to be as good as it was, but it surprised me. The use of the stylistic techniques and traits of film noir, kept the movie appealing. I believe this is a good movie for a more mature generation, so they can truly appreciate the value of the movie. The movie left the viewers with the thought of, “What goes around, comes back around,” which ended up with the death of both the characters.
The genre film noir has some classical elements that make these films easily identifiable. These elements are displayed in the prototypical film noir, Billy Wilder’s Double Indemnity. These elements include being filmed in black and white, a morally ambiguous protagonist, and a prominent darkness. However, the most striking part of a film noir is the femme fatale, a woman who craves independence through sexual and economic liberation. In his film, Chinatown, Roman Polanski uses many of the classic elements of a film noir, however he twists many of them to reflect the time period. This is particularly evident in his depiction of his “femme fatale,” Evelyn Mulwray.
The lighting along with the music becomes dim and depressing when Doris reminisces because they also need to reflect her mood. There is also a great use of blackouts in the play. The blackouts represent a
In 1943, James M. Cain wrote one of his most selling novella “Double Indemnity”. The following year, Billy Wilder, a movie director, with the help of Raymond Chandler, a screenwriter, took the book and adapted it to the big screen while keeping the original title. Eventually, the movie became very popular and nowadays, “Double Indemnity”, widely regarded as a classic, is often considered as a paradigmatic film noir since it has set the standard for films that followed in that genre. The movie adaptation is significantly more effective in creating the mood of suspense and making the overall story tenser through the changes made to the main characters, namely Walter Huff, Barton Keyes and Phyllis Nirdlinger.
The use of lights throughout the play did not vary often. Throughout most of the play, bright overhead lights portrayed the play’s main set room: a small town beauty salon. The lights created an atmosphere that was not only cheerful, but also warm and inviting. On each side of the stage, warm, more natural lighting was used to make the small outdoor areas more realistic. Lights were also used to convey
First and foremost, film noir refers to the visual style of a picture. The imagery of film noir was influenced by early 20th century German expressionism, featuring distorted, sinister shapes and shadows. These precursors to film noir used abstract figures and looming shadows for bizarre, emotionally stirring results. Techniques such as chiaroscuro were used to give a dark and minimalistic feeling. In many cases lighting is limited to a single harsh light source, which obscures the image, and even throws shadows across actors’ faces. These elements ensure that an audience regards the actors and the setting with equal importance. Oblique angled shots permeate many film noirs, naturally provoking anxiousness and apprehension in the viewer. In Sun...
Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience's perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
...rojects to the audience the aging of Norma. The lighting really exposes her lines and wrinkles, even as she declares that stars are ageless, the audience can plainly see what age has done to her. With this notion of lighting one could also come to the realization that Norma Desmond is no longer a star. In a way Norma is right about stars being ageless. If one thinks about it most stars are remembered when they are at the peak of their careers; when they are young. Up until Norma Desmond’s arrest, most people probably pictured the young star that dominated the silent film world. This is the Norma Desmond that Norma is under the delusion of still being, but due to the lighting in this frame; the audience can conclude that this is simply not the case. This use of high contrast lighting with dark shades and values make Sunset Boulevard a film-noire.
Janey Place and Lowell Peterson article “Some Visual Motifs of Film Noir” establishes noir as a visual style and not a ...
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
Film noir (literally 'black film,' from French critics who noticed how dark and black the looks and themes were of these films) is a style of American films which evolved in the 1940s. " The Internet Movie Database LTD. Film noir typically contains melancholy, and not so moral themes. Another characteristic of film noir is just because the main character has the title hero, that does not mean that he will always be alive at the end of the book, or that the hero is always "good." Marlowe in The Big Sleep is a prime example of this concept.
The film stays in line with classic noir in many ways. The usage of dark sets and high contrast lighting, which creates heavy shadows on the actors faces, makes the movie feel like it all happens at night and in dark alley ways. The story focuses on the inhumane parts of human nature. Each of the main characters experiences some kind of tragedy. For Vargas his tragedy was in dealing with Quinlin who has set out to frame him and his wife. For Quinlin his entire life represented a man consumed with darkness who lives his life with a “Touch of Evil.” Menzies was a hopeful man who looked up to Quinlin but was let down. For the viewer, film noir represents truth, even if it is not a truth that all people would like to hear.
Double Indemnity is a crime novel that was written by author and journalist, James M. Cain. The plot of Double Indemnity is about an insurance salesman by the name of Walter Huff who fell in love with the married woman, Phyllis Nirdlinger. Throughout the novel, both Huff and Nirdlinger pursue their love for each other and faces the drama from everyone around them. The novel was successful enough that Hollywood adapted the book into a film in 1944. The film Double Indemnity would then be directed by Billy Wilder with the assistance of Raymond Chandler. Eventually, the film became successful and was nominated for several Academy Awards. Despite the successful ending, the film had to find ways to either bypass or follow the rules of Hollywood’s
Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character structure suggest the film noir style, but also Wilder’s techniques of photography and empty, worn-down settings make for a perfect backdrop for this dark approach at filmmaking.
The beginning scene was actively engrossed with low-key lighting or "dark look" that gave off an overcast to understand the power Don Corleone possessed over the individuals he was speaking with. According to David Konow (2014) "As Willis recalled in the book Masters of Light,That technique or that approach to the movie visually just came out of a thought process. And the process, in my mind, was based on evil; it was based on the soul of the picture. The wedding outside had a very sunny, almost Kodachromey, 1942 kind of feel to it. Then when we cut inside the house with Brando, it was very down and very ominous…so it was a very simple philosophy. However, the overall look of The Godfather was a kind of forties New York grit." The lighting used in The Godfather helped to implore the nostalgic feel of the movie. Although it was made in the 80 's Willis ' use of his new techniques changed the lighting in movies to come and placed the viewer in the midst of the 1940 's mafia