Run away babe

Bernhard 2022-06-08 23:29:05

The film noir exhibition recommended by Peter. I didn't feel much when I saw it, but after a guest explanation (the teacher I met in school), I realized that there are other things that can be interpreted. For example, ordinary noirs are ordinary people who turn into criminals, and most of them take outdoor scenes, with the presence of beauty and desperation, which is a tragic ending. What's different in this movie is the closed indoor environment. The protagonist is a very charming criminal from the beginning. There are two women in the film, and the combination of the two leads to the death of the hero. The beginning of the introduction to the place where the male protagonist was trapped can reflect how the colonists see the colony (the location of the story is Arles colonized by France). The description of Beibei from the side of people’s mouth is a very heroic, sitting on the harem. Three thousand beauties. The actual shot shows Beibei who has constant friction with friends and opponents, and has been with ines for two years. And the way he described the jewellery contrasted sharply with the crude descriptions of his men, showing his poetry. When I saw the second girl, the subjective lens was jewelry first, jewelry, then face. The character creation is very interesting. The existence of female characters in the film gave him companionship in a foreign land and gave him hope of leaving the prison. This film was filmed after the First World War, and many people were forced to leave their homes. The theme and imagery may come from this. In addition, after the male lead hand was injured, he immediately met a second girl, which was also a hint. Visually, iron fences have visual metaphors, as do the shadow shapes of lights.

The inspector is like Beibei's friend and enemy.

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Extended Reading

Pépé le Moko quotes

  • Janvier: Pépé le Moko is still at large.

    Meunier: Algiers isn't Pigalle.

    Janvier: In Pigalle, he'd have been behind bars long ago.

  • Meunier: The Casbah is like a labyrinth. I'll show you. You can say Pépé's gone underground. From the air, the district known as the Casbah looks like a teeming anthill, a vast staircase where terraces descend stepwise to the sea. Between these steps are dark, winding streets like so many pitfalls. They intersect, overlap, twist in and out, to form a jumble of mazes. Some are narrow, others vaulted. Wherever you look, stairways climb steeply like ladders, or descend into dark, putrid chasms and slimy porticos, dank and lice-infested. Dark, overcrowded cafés. Silent, empty streets with odd names. A population of 40,000 in an area meant for 10,000. From all over the world. Many, descended from the barbarians, are honest traditionalists, but a mystery to us. Kabyles. Chinese. Gypsies. Stateless. Slavs. Maltese. Negroes. Sicilians. Spaniards. And girls of all nations, shapes and sizes. The tall. The fat. The short. The ageless. The shapeless. Chasms of fat no one would dare approach. The houses have inner courtyards, which are like ceilingless cells that echo like wells and interconnect by means of terraces above. They're the exclusive domain of native women. But Europeans are tolerated. They form a city apart, which, step by step, stretches down to the sea. Colorful, dynamic, multifaceted, boisterous, there's not one Casbah, but hundreds. Thousands. And this teeming maze is what Pépé calls home.