Double Indemitity In The Film Noir Film

The film noir is not a genre, as Raymond Durgnat pointed out quite accurately to the objection in the book "Hollywood in the Fortieth" by Hayyom and Greenberg (Hollywood in Soroca). This movie can not be defined in the same way as, for example, a western or gangster film: that is, through the scene of action and conflict. Rather, noir is determined by a combination of more elusive qualities of tone, image, intonation. First of all, "Noir", as a "black" film, is defined through the opposition to "gray" and "white" films. Like German expressionism and the French "new wave", the film noir represents a whole period in the history of cinema.

Double Indemnity Double Indemnity is a 1944 film noir directed by Billy Wilder starring Fred MacMurray and Barbara Stanwyck. The film starts out by a successful insurance salesman returning to his office with a gunshot wound on his shoulder dictating a confession for his friend Barton Keyes, this starts the story off in flashback form. The flashback begins with Neff meeting Phyllis Dietrichson during a routine house call for her husband’s automobile insurance renewal, during this time Phyllis asks him how she could take out an accident policy on her husband’s life without him knowing. Neff realizes that she is planning on a murder and wants to have nothing to do with it. Eventually, when Phyllis shows up at his door he falls for it and decides

Laura one of the most notable films of classic noir directed by Otto Preminger was released in nineteen forty-four. The film consists of the basic elements of film noir; McPherson, the detective played by Dana Andrews, Laura Hunt, the femme fatale played by Gene Tierney, Waldo Lydecker, the criminal played by Clifton Webb. With these elements story of a murder takes action. It’s a murder mystery filled with suspects and a plot twist that makes the audience wonder what is happening. The film begins with Waldo Lydecker’s narration.

Straight Outta Compton. Dir. F. Gary Gray. Perf. O'Shea Jackson Jr., Corey Hawkins, Jason Mitchell, and Paul Giamatti.

Amazing Grace: Historical Accuracy The 2006 film Amazing Grace depicts the struggle of a British parliament member named William Wilberforce as he worked tirelessly toward the abolishment of The Atlantic Slave Trade in Great Britain. Comparing this 2006 film with primary and secondary source documents, along with some internet research, I was able to find some consistencies and some discrepancies with historical accuracy. As like most Hollywood films, there is a certain amount of dramatic flair added to the film but overall it seems to accurately represents some of the events that led up to the successful abolishment of The Atlantic Slave Trade in 1807.

“In Cold Blood” is a chillingly realistic portrayal is the 1959 Clutter family murder case. The success of this incredible film is due to the talented acting, the brilliantly accurate script, and the small details incorporated throughout the film. Even though historically-based films can be difficult to portray successfully, this film “is fantastically powerful despite its flaws” (Ebert 1). Following the story of Dick Hickock and Perry Smith leading up to the murder of the Clutter family, “In Cold Blood” “accurately brings to life one of the most harrowing and now nearly forgotten criminal cases in America” (Powers 18).

Thelma & Louise (1991) is a crime thriller drama directed by Ridley Scott, about two best friends who plan a weekend getaway which turns into unexpected chase from police after an accidental murder. Through the perceiving jump cut editing, close up cinematography and the creative use of diegetic and nondiegetic sound. The director has successfully created a love story between two best friends. The scene begins with a panning long shot, that shows the establishment and beauty of the Grand Canyon and the cloudy blue sky. Music and sound is completely absent; natural ambience of wind blowing is very soft in background.

As expected of the femme fatale character, Evelyn uses her feminine advantage to lure Jake onto her side. The two become close, both emotionally and physically, but an overwhelming atmosphere of secrecy remains between them. Evelyn refuses to allow Jake past her outermost defensive layers because she knows that at the heart of the matter lies an unimaginable reality. The film offers a subtle glimpse into her psyche during a conversation concerning the relationship between her husband and her father, Mr. Cross [00:58:22]. The facade of icy domination shatters at the mention of her father’s name.

"New Queer Cinema" was a term conceived by B. Ruby Rich in numerous publications, notably Sight & Sound, a British film journal that Jose Arroyo regularly reviews on. The term was to describe the appearance of specific films during the early 1990’s at Sundance Film Festivals that indicated a politicized viewpoint towards queer. In a 2013 interview conducted by 15min with Arroyo, he states that gays in film have been there since the beginning of film. For example, films of nudes by Eadweard Muybridge during the 1890’s.

Love & Espionage Formerly screened in New York on November 1942 and largely released in January 1943, Casablanca, a moving love story consisting of many emotional turns and slightly similar to the chaos surrounding WWII. A mixture of Love, politics, and war was the atmosphere created by the Director Michael Curtiz. Three of the top screenwriters of all times, Julius Epstein, Philip Epstein and Howard Koch wrote this award-winning movie. Casablanca was adapted from the stage play Everybody Comes to Ricks. The movie’s lead actors were Richard ‘Rick’ Blaine (Humphrey Bogart), Ilsa Lund (Ingrid Bergman) and Victor Laszlo (Paul Henreid).