The three movies I found the most compelling over this semester were "One Flew Over the Cuckoos Nest", "The Diving Bell and the Butterfly" and "Pan's Labyrinth". Three additional movies I think every one should see, film student or not, are "The Princess Bride", "The Fire Within", and "The Big Lebowski".
One Flew Over the Cuckoos Nest is so compelling and a brilliently written character driven piece. It is an exploration of the human condition and asks difficult questions about why we do what we do and why we are here. How do we want to spend our time living? It is brilliently acted and filmed with some beautiful shot work. I am glad I was able to revisit it this semester.
The Diving Bell and the Butterfly is such a unique artistic film. It focuses on our internal struggle of being and teaches us not to take our bodies and our lives for granted. The phsycial camera work and unique shots are just as groundbreaking as the subject matter. The camera had never been used in quite that way before and it stands to teach all movie enthusiasts about the heights that are possible in film.
Pan's Laybryinth is perhaps a guilty favorite of mine. I enjoy this movie so much and revel in its visual splendor every time I see it. I personally indentify with the childhood themes and fantasy but this film also reaches new levels in the use of makeup, set design, and computer generated methods used in film.
The Princess Bride is one of my most favorite films. The writing is what sets this film apart from all others. The incredibly rythmic and hilariously complex voice of each of the characters is amazing. I can hardly ever get tired of watching this film and listening to its amazing dialogue.
The Fire Within is a lesser known film directed by French director Louis Malle. A beautiful exploration of a suicidal individual filmed in 1963 Paris. This is a beautiful example of French new wave and has an almost flm noire quality. It evokes beautiful if depressing French style.
The Big Lebowsky is, if asked, my favorite film, a very tough designation for me. Amazing writing, amazing characters, amazing shots, amazing music. Perhaps I'm biased due to my Los Angeles lifestyle and familiarity with the location of the film but every one should see this film.
Thanks so much for a great semester.
Thursday, May 26, 2011
Sunday, May 22, 2011
Mark Romanek: Never Let Me Go Interviewed on The Treatment
The guest I listened to on The Treatment was Mark Romanek. He is the director of the recent film "Never Let Me Go", starring Carey Mulligan and Keira Knightley. Mark Romanek has directed many high profile music videos in the past as well as the critically acclaimed "One Hour Photo". The Treatment episode aired on October 6, 2010.
I was drawn to this interview with Mak Romanek because I recently watched the film "Never Let Me Go" and was struck by its beauty and minimalism but also troubled by its approach to the subject matter. Mark goes into the reasons behind his minimalist visual style used in the film as well as some of the meaning behind the characters actions and acceptance of their tragic fate. The film is an adaptation of the book of the same title written by Kazuo Ishiguro. I was surprised to learn that reasons behind the strange sort of acceptance of the characters' doomed fate is a theme expressed in the book and has to do with an acceptance of faith and dogma. It is a very Japanese sensibility that sadness and loneliness is a necessary element of life.
"Never Let Me Go" is a film about three childhood friends who grow up in a strange British boarding school and deal with a love triangle through to adulthood. We soon learn a secret, that these three, and many others, are parentless children "grown" to be organ donors for the rest of society. They are doomed to undergo "donation" after "donation" until they "complete" (ie die). Mark describes the film as “an examination of how they [our three character] deal with that secret.” How they deal with that secret is really what troubled me about the film. All three characters simply accept their fate, and despite their feelings for each other and their unhappiness with their existence, they still simply resign themselves to it. They never once try to escape it or refuse to do what is requested of them. I had a very hard time understanding why the characters react this way when watching the film.
Ultimately, the characters seem to be passive to the demands society has put on them despite being relegated to sub-human status. Society believes them to be soulless guinea pigs to be used and discarded. Mark explains this reaction partially by stating “strength is what makes their actions not passive.” I don’t entirely understand what this means but I do see that the characters seem to understand their calling in life and meet it head on without question or hesitation. While they express a quiet, if overly civil, strength, they also appear to be emotionally stunted in the area of anger however. We know they are capable of emotion apparently the same as any human being, but never rebel against the system, even when it means giving up the love of your life.
Mark goes on to describe the characters reaction as “adherence to dogma, adherence to beliefs that leads to a tragic result.” I assume this means our characters are brought up from birth to never question their role and to consider themselves special. The characters belief in what they are doing for society is apparently what drives them on to do so. But I find it incredible human behavior that Carey Mulligan’s character realizes how much she loves her childhood friend Tommy and wants a life with him, and she sees her contemporaries, including her childhood friend Ruth, suffer and die as they undergo multiple operations until death, she never stops and says no, I will not do this. Perhaps adherence to faith is an alien concept to me but it is my belief that these children “grown” for this purpose are not entirely human considering their reaction to their involuntary fate.
I really appreciated Mark Romanek’s thoughts on this film and the reasons for his approach. I learned a lot about the themes of the story and the adaptation of the film from the book. I was stunned by the beauty of the film “Never Let Me Go” and believe it is a great accomplishment by this young director. I didn’t buy all of the elements of this deep examination of the human condition and human emotion but it is an important viewpoint. I am glad movies like this are being made and I hope to see more films from this talented director.
Saturday, April 9, 2011
Blog #6- Shot List- L.A. Confidential Good Cop/Bad Cop
I have developed the below shot list based on the Good Cop/Bad Cop scene from L.A. Confidential.
Sunday, April 3, 2011
Blog Post #5
Cinematography Screening Checklist- American Beauty
1) Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
Cinematographic aspects of American Beauty included the use of subtle lighting effects, careful control over fill light and darks to evoke a fairly peaceful, soft, classic look that contrasted heavily with the dramatic events occurring on screen.
2) Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. How do these images develop the film’s themes, narrative, and meaning?
Several themed images were used to convey information that was not reflected in characters’ actions or dialogue including recurring images of rose petals and the color red. Long takes linger on the red door of the Burnham’s home. Lester continuously associates red rose petals with his Lolita attraction to Angela. Both symbolic visual images represent the stark contrast between the bland, façade of the Burnham’s lives and their true internal feelings about who they are and what they want out of life.
3) Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
There is a recognizable pattern of the length of shots used in the film. Long takes are used that tend to linger on the main subject of the scene. Often wider shots of dialogue between characters pull into a close-up of the main speaker, focusing on their thoughts and reflections to bring meaning to their words.
4) Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?
Extreme close ups and extreme long shots are used to the film to play specific roles in the audiences perception of the scenes. An ELS is used when viewing the Burnham’s at the dinner table. The scene encompasses all three family members and some surrounding environment to show the distance between the Lester and Carolyn and Jane stuck in the middle of their ongoing feud. ECU’s are used often throughout the film during dialogue that turns often to short monologues for the subject characters, such as when Jane walks home with Ricky and watches the bag video with him in his room. A wide-shot of Jane and Ricky watching the video transitions to an extreme close up on Ricky as he describes what the video meant to him.
5) Are high- or low-angle shots used in the film? Are they POV shots, meant to represent a character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame.
Some high angle shots are used such as when the camera swings in from high above the Burnham’s neighborhood at the beginning of the film. This shot shows the insignificance of the Burnham’s lives in the large world that surrounds them. Their experience begins small and insignificant but we later learn the depth of humanity in each of these characters as we get a view into their corner of the world. Few POV shots are used in the film except when Lester is watching or fantasizing about Angela and via the use of Ricky’s handheld camera. We witness Lester’s fantasy of Angeles’s erotic dance at the high school basketball game. Also, we see Ricky’s view on the screen when watching Jane talk in his room or when he’s filming her from his window in her room. We see what Ricky focuses on and this reveals his attraction and fascination with her as well as her acceptance of his attention.
6) Are the compositions of shots balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
The rule of thirds is used quite often in the film during composition shots. There is a classical “painterly” quality to many shots. The composition shows the pristine orderliness of the environment, providing contrast to the complicated messy lives of the characters. These include a wide shot of the Burnham’s home and their perfectly pruned yard as well as when Jane and Ricky walk home down their perfectly framed maple tree lined street.
7) Describe the extent of camera movement in the film. Is the camera moving solely to produce visual excitement? To demonstrate technological virtuosity on the part of the filmmaker? Does it play an important role in developing the film’s narrative?
There is not a great deal of camera movement in the film. The cinematography is trying to create a realist view of average suburban environments as opposed to fast movement or visual excitement. Camera movement focuses on deep zooms and left to right pans across the faces of the characters. These movements do play an important role in the development of the narrative such as showing Lester’s infatuation with Angela and the dramatic pans of each character when they hear the gun shot that killed Lester.
8) Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ parts, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
The cinematography does call attention to itself on occasion especially during Lester’s dramatic fantasies about Angela. During his dream as he wanders into the misty bathroom while Angela sits in a bath, the surface covered in rose petals, he lighting is overly soft and diffused, unrealistic with no defined source. This highlights the fantastical environment and Lester’s idealized view of Angela and her erotic charms.
1) Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.
Cinematographic aspects of American Beauty included the use of subtle lighting effects, careful control over fill light and darks to evoke a fairly peaceful, soft, classic look that contrasted heavily with the dramatic events occurring on screen.
2) Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. How do these images develop the film’s themes, narrative, and meaning?
Several themed images were used to convey information that was not reflected in characters’ actions or dialogue including recurring images of rose petals and the color red. Long takes linger on the red door of the Burnham’s home. Lester continuously associates red rose petals with his Lolita attraction to Angela. Both symbolic visual images represent the stark contrast between the bland, façade of the Burnham’s lives and their true internal feelings about who they are and what they want out of life.
3) Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?
There is a recognizable pattern of the length of shots used in the film. Long takes are used that tend to linger on the main subject of the scene. Often wider shots of dialogue between characters pull into a close-up of the main speaker, focusing on their thoughts and reflections to bring meaning to their words.
4) Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?
Extreme close ups and extreme long shots are used to the film to play specific roles in the audiences perception of the scenes. An ELS is used when viewing the Burnham’s at the dinner table. The scene encompasses all three family members and some surrounding environment to show the distance between the Lester and Carolyn and Jane stuck in the middle of their ongoing feud. ECU’s are used often throughout the film during dialogue that turns often to short monologues for the subject characters, such as when Jane walks home with Ricky and watches the bag video with him in his room. A wide-shot of Jane and Ricky watching the video transitions to an extreme close up on Ricky as he describes what the video meant to him.
5) Are high- or low-angle shots used in the film? Are they POV shots, meant to represent a character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame.
Some high angle shots are used such as when the camera swings in from high above the Burnham’s neighborhood at the beginning of the film. This shot shows the insignificance of the Burnham’s lives in the large world that surrounds them. Their experience begins small and insignificant but we later learn the depth of humanity in each of these characters as we get a view into their corner of the world. Few POV shots are used in the film except when Lester is watching or fantasizing about Angela and via the use of Ricky’s handheld camera. We witness Lester’s fantasy of Angeles’s erotic dance at the high school basketball game. Also, we see Ricky’s view on the screen when watching Jane talk in his room or when he’s filming her from his window in her room. We see what Ricky focuses on and this reveals his attraction and fascination with her as well as her acceptance of his attention.
6) Are the compositions of shots balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.
The rule of thirds is used quite often in the film during composition shots. There is a classical “painterly” quality to many shots. The composition shows the pristine orderliness of the environment, providing contrast to the complicated messy lives of the characters. These include a wide shot of the Burnham’s home and their perfectly pruned yard as well as when Jane and Ricky walk home down their perfectly framed maple tree lined street.
7) Describe the extent of camera movement in the film. Is the camera moving solely to produce visual excitement? To demonstrate technological virtuosity on the part of the filmmaker? Does it play an important role in developing the film’s narrative?
There is not a great deal of camera movement in the film. The cinematography is trying to create a realist view of average suburban environments as opposed to fast movement or visual excitement. Camera movement focuses on deep zooms and left to right pans across the faces of the characters. These movements do play an important role in the development of the narrative such as showing Lester’s infatuation with Angela and the dramatic pans of each character when they hear the gun shot that killed Lester.
8) Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ parts, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?
The cinematography does call attention to itself on occasion especially during Lester’s dramatic fantasies about Angela. During his dream as he wanders into the misty bathroom while Angela sits in a bath, the surface covered in rose petals, he lighting is overly soft and diffused, unrealistic with no defined source. This highlights the fantastical environment and Lester’s idealized view of Angela and her erotic charms.
Saturday, March 5, 2011
Blog #4
Composition Tools Using "Mystery Train", "Stranger Than Paradise" and "Dead Man" Film Stills
Rule of Thirds: Top, Center, Bottom Composition
This shot from Mystery Train is is a great example of the use of the Rule of Thirds to compose the frame in top, center, bottom positon. Two vertically standing characters stand on two imagined vertical dividing lines. The three horizontal dividing lines run through all background and foreground objects at the top, bottom and center of the frame. The emotional/psychological impact of the framing device is the almost comedic spectacle of these foreign characters left on a train platform in an alien world. They are surveying their surroundings with an entirely empty clueless perception of where they are.
Rule of Thirds, Left, Center, Right Composition
This shot from Mystery Train is is a great example of the use of the Rule of Thirds to compose the frame in left, center, right positon. Two seated characters align with the two imagined vertical dividing lines. The three horizontal dividing lines run through all left, center, right objects in the frame. The emotional/psychological impact of the framing device here is the dramatic background spanning in the middle of the modern teenage Japanese couple. They are too busy listening to music and putting on makeup and they have a noticeable lack of reaction to what must be a very unfamiliar landscape. Ultimately they are entirely blind to the cultural differences of themselves and the land they are visiting.
Rule of Thirds, Foreground, Middle Ground, Background Composition
This is a beautiful example from Mystery Train of a composition using the Rule of Thirds, Foreground, Middel Ground and Background with the two imagined veritical lines running along a foreground object on the left and middle ground object on the right. Meanwhile the three imagined horizontal lines fall almost perfectly to devide the foreground, middle ground and background objects. The emotional/psychological impact of the framing device here is the shared visuals of urban decay and juxtaposition of the foreign characters moving through these strange surroundings, looking so lost and out of place.
Eye Room (Lead Room) Composition
This image from Stranger Than Paradise is a great example of the use of Lead Room Composition. The image includes a view of both where the car has been and where the it can travel in the distance. This is a unique example of the compositional tool, as Lead Room predominantly is meant to give the viewer a look at where the moving object will go but here we can see where it has been and where it is going in one frame. The emotional/psychological impact of this tool is the fact that we see where the car is traveling and that is has great distance to travel but the car door is open and the driver in on the room of the car, the only way we know that the car is not actually moving in this image.
Deep Space Composition
This image from Strange Than Paradise is a great example of Deep Space composition. Here two significant elements of the frame are positioned both close and far away from the camera. The emotional/psychological impact of the composition is a clear connection with the character who is clearly a traveler, with her luggage, walking away from a plane and runway in the distance. The audience is forced to wonder where she is going and why she has travled to this place.
Symmetrical Balance Composition
Symmetrical balance is strongly used in this image from Stranger Than Paradise. The two characters are of similar position and size on either side of the frame as they watch television in a dark room. The expressions and relaxed positions of the characters lends an emotional/psychological impact of boredom and darkness with a beautiful shadowy feel brought by light coming from the TV in the foreground.
Compositional Stress Composition
This shot from Dead Man is a great example of the use of Compositional Stress. We see a character holding a gun, obviously a tense and threatening moment but our view of his surroundings is so limited, we are unable to see who he is pointing his weapon at or what or who surrounds our character causing the threat which has lead to his need for the weapon. The stress caused by the lack of knowledge of the source of the threat in this frame is the emotional/psychological impact brought by this compositional tool.
Friday, February 25, 2011
Blog #3
Select a quote from one of the filmmakers interviewed in the first 10 minutes of the documentary Film Noir that describes a main idea that also appeared in either Out of the Past or L.A. Confidential (or both). Explain how the quote you've selected applies to one or both of these two movies. (Name the filmmakers you quote.)
Errol Morris: “Noire is concerned with errors and confusions, It’s the noir idea, we don’t know what’s going on, but we do know something is bad out there controlling events. For me, the best noir films are films about fall guys, a person who finds himself caught in a net, the more he struggles the deeper and deeper he becomes entwined in nightmare.”
Such a quote easily personifies the true noir of Out of the Past or the neo-noir of L.A. Confidential. Both narratives utilize plots that exemplify the quote. In Out of the Past Jeff Bailey has his mysterious past catch up with him one day when he's ordered to meet with gambler Whit Sterling. Whit's new job for Jeff is clearly a trap, but Jeff's precautions only leave him more tightly enmeshed and ultimately framing him. Bailey is aware of this throughout, unsure of whom to trust, but the only way out is through. The same thing holds true for L.A. Confidential where we have an intricate noir tale of police corruption and Hollywood sleaze. Three very different cops are all after the truth, each in their own style. Only by working together are they able to solve the conspiracy of the Night Owl murder but become targets themselves in their search for truth. Again, the only way out is through.
How to spot a femme fatale:
Which description in the documentary of the femme fatale best identifies Kathie from Out of the Past? Do any fit Lynn from L.A. Confidential? For each, explain how, why/why not. (Give the name of the filmmaker whose description it is.)
Certainly both women exemplify “That Black Widow sensibility” as Paul Shrader calls it. Both women live independent lives in society. Both are dangerous due to their sexuality for which the men in their respective lives cannot help but succumb to. Kathie however is far more intelligent and far more manipulative. Lynn is a convenient plot device but she is more a tool of manipulation (By way of Pierce Patchett) than the driving force behind it. Katie has her own agenda and attempts to play everyone for fools. Both use their sexuality to get things they want. Both use it as a tool to manipulate others, but ultimately Lynn wants to return to a “normal” life with Bud that represents traditional gender roles and she succeeds in does so.
Noir photography, lighting, and location:
Recall how the use of shadow and light, the use of deep focus, AND the type of locations used for shooting in Out of the Past help to create the world of film noir. How do these same elements show up in the neo-noir film L.A. Confidential? How do you think the use of color photography changes the effect of these elements?
The visual style of all Noir films utilized German-expressionistic chiaroscuro style lighting, giving harsh shadows with prominent key lighting that allows for an overall sense of foreboding. Light against dark represents good against evil and the inability to distinguish what lurks in the shadows helps to frame the ambiguous characters in the narrative. This also helps to externalize characters that are often trapped in the plot. There is no light, there is no release, and thus there is no escape. The colorization of L.A. Confidential certainly dilutes the impact of high contrast black and white. Certain scenes like the Victory Motel shootout still allowed for high contrast moments. The colorization of the noir helps root the story in reality however, which is an ardent goal of all noir. For as much as we love classical noir, they rarely hold up to modern audiences due to being dated as “B Movies”. The other noirish elements are still used in Confidential however. The production design is simple and functional and representative of isolation and alienation. Beyond the depth of field and production design (including costuming) however, L.A. Confidential uses noir more in structuring the plot, then portraying the classical visual style.
Setting is a significant element in both Out of the Past and L.A. Confidential, but used in different ways due to the change from black and white to color photography. L.A. Confidential is a much brighter film, using daytime and color extensively in many locations for many scenes but manages to maintain a seedy noir feel simultaneously with the use of detailed locations that convey the feel of 1950's Los Angeles. From City Hall, to movie premiers in the background, to the sparse and foreboding Victory Motel, setting is what allows L.A. Confidential to convey noir without the same dark contrast used in films like Out of the Past. Out of the past travels to vastly different locales from Lake Tahoe, to Mexico, to urban San Francisco and despite these varied settings, maintains a constant dark grainy feel that is the traditional style of noir. Both are enjoyable to watch for their own reasons but L.A. Confidential is a modern twist on noir film-making that is great fun to take in.
Errol Morris: “Noire is concerned with errors and confusions, It’s the noir idea, we don’t know what’s going on, but we do know something is bad out there controlling events. For me, the best noir films are films about fall guys, a person who finds himself caught in a net, the more he struggles the deeper and deeper he becomes entwined in nightmare.”
Such a quote easily personifies the true noir of Out of the Past or the neo-noir of L.A. Confidential. Both narratives utilize plots that exemplify the quote. In Out of the Past Jeff Bailey has his mysterious past catch up with him one day when he's ordered to meet with gambler Whit Sterling. Whit's new job for Jeff is clearly a trap, but Jeff's precautions only leave him more tightly enmeshed and ultimately framing him. Bailey is aware of this throughout, unsure of whom to trust, but the only way out is through. The same thing holds true for L.A. Confidential where we have an intricate noir tale of police corruption and Hollywood sleaze. Three very different cops are all after the truth, each in their own style. Only by working together are they able to solve the conspiracy of the Night Owl murder but become targets themselves in their search for truth. Again, the only way out is through.
How to spot a femme fatale:
Which description in the documentary of the femme fatale best identifies Kathie from Out of the Past? Do any fit Lynn from L.A. Confidential? For each, explain how, why/why not. (Give the name of the filmmaker whose description it is.)
Certainly both women exemplify “That Black Widow sensibility” as Paul Shrader calls it. Both women live independent lives in society. Both are dangerous due to their sexuality for which the men in their respective lives cannot help but succumb to. Kathie however is far more intelligent and far more manipulative. Lynn is a convenient plot device but she is more a tool of manipulation (By way of Pierce Patchett) than the driving force behind it. Katie has her own agenda and attempts to play everyone for fools. Both use their sexuality to get things they want. Both use it as a tool to manipulate others, but ultimately Lynn wants to return to a “normal” life with Bud that represents traditional gender roles and she succeeds in does so.
Noir photography, lighting, and location:
Recall how the use of shadow and light, the use of deep focus, AND the type of locations used for shooting in Out of the Past help to create the world of film noir. How do these same elements show up in the neo-noir film L.A. Confidential? How do you think the use of color photography changes the effect of these elements?
The visual style of all Noir films utilized German-expressionistic chiaroscuro style lighting, giving harsh shadows with prominent key lighting that allows for an overall sense of foreboding. Light against dark represents good against evil and the inability to distinguish what lurks in the shadows helps to frame the ambiguous characters in the narrative. This also helps to externalize characters that are often trapped in the plot. There is no light, there is no release, and thus there is no escape. The colorization of L.A. Confidential certainly dilutes the impact of high contrast black and white. Certain scenes like the Victory Motel shootout still allowed for high contrast moments. The colorization of the noir helps root the story in reality however, which is an ardent goal of all noir. For as much as we love classical noir, they rarely hold up to modern audiences due to being dated as “B Movies”. The other noirish elements are still used in Confidential however. The production design is simple and functional and representative of isolation and alienation. Beyond the depth of field and production design (including costuming) however, L.A. Confidential uses noir more in structuring the plot, then portraying the classical visual style.
Saturday, February 12, 2011
Blog Post #2
Diagetic vs. Non-diagetic Sounds in the Film Out of the Past
One example of non-diagetic sound in the film, Out of the Past, comes at 5:00 mins. Our main character, Bailey, is fishing with his fiancé Meta. In the background is melodic score music, clearly not heard in the world of the film but meant to convey a sense of peaceful serenity in the majestic outdoor scene. Another example of non-diagetic sound is score music playing at about 11:00 mins. It begins as Bailey is driving with Meta to Lake Tahoe and he begins his story of his true past. It is clearly not heard in the world of the film but is meant to put the audience on notice of Bailey’s mysterious story that is about to unfold.
An example of diagetic sound in the film is the band playing at 15:00 mins. as Bailey, now recounting his past experiences searching for Katherine Moffett, meets with a former employee of Katherine’s, Eunice Livit, at a crowded New York African American dance club. The scene opens on a trumpet player playing loudly with a band surrounding him. The band is in the world of the film and people are dancing to the music in the background. Another example of diagetic sound in the film is at 20:10 min. It takes place as Bailey enters a bar called Pablo’s in Acapulco hoping to meet Katherine there. Bailey stands at the bar as violin music begins playing. You clearly see the violinist and piano in the background. Katherine suggests this place because they play American music. The music is clearly a part of the world of the film.
Use of Familiar Image in the Film Out of the Past
A Familiar Image in the film, Out of the Past, is the use of a door, left open. This image is used in two separate scenes of the film. The first comes at 27:08 as Bailey and Katherine come running to her cottage in Acapulco in the rain. They sit on the couch drying each other’s hair and expressing their love when the wind blows the door open and Bailey gets up to close it slowly. At 39:08 this similar image is seen again after the fight with Fisher, Bailey’s old partner who tries to blackmail them, during which Katherine shoots and kills him. Bailey is shocked that Katherine shot him and as he turns around, she’s gone, the door standing open. Once again, Bailey slowly gets up and closes the door as Katherine is seen driving away. Both of these scenes feature a small cottage where Bailey and Katherine are going to be together. Director Jacques Tourneur likely crafted these scenes to be so similar to emphasize the way in which Bailey is misled by Katherine. He falls in love with her, despite her shady past. He trusts her despite many reasons not to, believing that her having shot Whit was justified and over with. The scene at the forest cottage shows Katherine’s treacherous nature. Bailey’s heart is broken as he learns she did steal the money from Whit and is truly a cold-blooded murderess. The door standing open is a symbol of how easily Katherine is able to claim her undying love to Bailey only to turn around, commit murder and run through that open door without a second thought.
The above film clip shows Katherine's cold-blooded murder of Fisher after Bailey fights him.
Film Noir and the Film Out of the Past
Out of the past is a classic example of Film Noir. The visual style utilized German-expressionistic chiaroscuro style lighting, giving harsh shadows with prominent key lighting that allows for an overall sense of foreboding. The contrast and dramatic shadows helps frame the thematic, morally ambiguous characters that make up the narrative. The main character acts as a hard boiled private detective and Katherine represents the quintessential Femme Fatale running from the quintessential jealous boyfriend. The story itself uses heavy voice over narration and flashbacks as standard devices to tell the story. The plot also uses such devises as betrayals and double crosses which are standard hard boiled film noir devices. Noir stories like to show people in unwanted situations that have an uncertain outcome of events that often ends in tragedy. Out of the Past is no different in this regard.
One example of non-diagetic sound in the film, Out of the Past, comes at 5:00 mins. Our main character, Bailey, is fishing with his fiancé Meta. In the background is melodic score music, clearly not heard in the world of the film but meant to convey a sense of peaceful serenity in the majestic outdoor scene. Another example of non-diagetic sound is score music playing at about 11:00 mins. It begins as Bailey is driving with Meta to Lake Tahoe and he begins his story of his true past. It is clearly not heard in the world of the film but is meant to put the audience on notice of Bailey’s mysterious story that is about to unfold.
An example of diagetic sound in the film is the band playing at 15:00 mins. as Bailey, now recounting his past experiences searching for Katherine Moffett, meets with a former employee of Katherine’s, Eunice Livit, at a crowded New York African American dance club. The scene opens on a trumpet player playing loudly with a band surrounding him. The band is in the world of the film and people are dancing to the music in the background. Another example of diagetic sound in the film is at 20:10 min. It takes place as Bailey enters a bar called Pablo’s in Acapulco hoping to meet Katherine there. Bailey stands at the bar as violin music begins playing. You clearly see the violinist and piano in the background. Katherine suggests this place because they play American music. The music is clearly a part of the world of the film.
Use of Familiar Image in the Film Out of the Past
A Familiar Image in the film, Out of the Past, is the use of a door, left open. This image is used in two separate scenes of the film. The first comes at 27:08 as Bailey and Katherine come running to her cottage in Acapulco in the rain. They sit on the couch drying each other’s hair and expressing their love when the wind blows the door open and Bailey gets up to close it slowly. At 39:08 this similar image is seen again after the fight with Fisher, Bailey’s old partner who tries to blackmail them, during which Katherine shoots and kills him. Bailey is shocked that Katherine shot him and as he turns around, she’s gone, the door standing open. Once again, Bailey slowly gets up and closes the door as Katherine is seen driving away. Both of these scenes feature a small cottage where Bailey and Katherine are going to be together. Director Jacques Tourneur likely crafted these scenes to be so similar to emphasize the way in which Bailey is misled by Katherine. He falls in love with her, despite her shady past. He trusts her despite many reasons not to, believing that her having shot Whit was justified and over with. The scene at the forest cottage shows Katherine’s treacherous nature. Bailey’s heart is broken as he learns she did steal the money from Whit and is truly a cold-blooded murderess. The door standing open is a symbol of how easily Katherine is able to claim her undying love to Bailey only to turn around, commit murder and run through that open door without a second thought.
The above film clip shows Katherine's cold-blooded murder of Fisher after Bailey fights him.
Film Noir and the Film Out of the Past
Out of the past is a classic example of Film Noir. The visual style utilized German-expressionistic chiaroscuro style lighting, giving harsh shadows with prominent key lighting that allows for an overall sense of foreboding. The contrast and dramatic shadows helps frame the thematic, morally ambiguous characters that make up the narrative. The main character acts as a hard boiled private detective and Katherine represents the quintessential Femme Fatale running from the quintessential jealous boyfriend. The story itself uses heavy voice over narration and flashbacks as standard devices to tell the story. The plot also uses such devises as betrayals and double crosses which are standard hard boiled film noir devices. Noir stories like to show people in unwanted situations that have an uncertain outcome of events that often ends in tragedy. Out of the Past is no different in this regard.
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