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Fay 2022-06-12 20:02:20

The composition is delicate but not extreme; the narrative structure is loose; the pace is slow; the characterization is mixed. Overall, the film is more innovative than the noir of the 1940s, but it falls short. In particular, the character settings are not concise enough, such as private detectives and Monroe are optional - then you should pick up Occam's razor and cut it mercilessly - when describing the approaching bankruptcy of lawyers, it can be completely ignored. Because the key to the film is stealing and running, the lawyer and Monroe part is a waste of film.

Comparatively speaking, the gangsters are more successful, Gus, Dix and Louie (it can be seen that the director put a lot of effort into Louie's words), but Dix's image is too naive; that kind of instinctive Rude performance is still under fire. Another point is the routine of photography and editing, which greatly reduces the quality of the film. MS and CU, just these two changes - isn't the vision at the beginning matched with the composition very well?

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Extended Reading

The Asphalt Jungle quotes

  • Angela Phinlay: I had the market send over some salt mackerel for you. I know how you love it for breakfast.

    Alonzo D. Emmerich: [Looks at her approvingly] Some sweet kid.

  • Cobby: [Telephone rings twice; Cobby answers] Yeah, hello, hello. Yeah, this is Cobby. What?

    Cobby: [Cobby gets off the telephone in to talk to Dix and Doc] It's Gus. Dragnet's out and they're combing the district.

    Cobby: [Cobby holds out telephone] He wants to talk to you. You, Dix.

    Dix Handley: [Dix takes telephone from Cobby; Cobby leaves] Gus, Dix.

    Gus Minissi: [the scene switches from Cobby's hideout to a telephone booth where Gus is; Gus talks to Dix] Yeah, now, listen careful, pal. The cops are knocking over all the joints along the boulevard. There's mobs of them, meat wagons and all. Now, look, I already called the guy, Eddie Donato. Donato's got a grocery down by the river. 116 Front Street, you got that?

    Dix Handley: [Dix's voice is heard through the telephone] Yeah.

    Gus Minissi: Okay.

    Dix Handley: [a police car rolls into the scene outside of the telephone booth] Thanks, Gus. Say, how's Louie?

    Gus Minissi: Louie's not so good. He got a slug in his belly, all right. Doc's doing all he can. Uh, here they are now, the happiness boys.

    Gus Minissi: [a policeman bangs on the telephone booth and motions Gus to get out of the booth so that he can use it. Gus chuckles, turns and waves to him] Hello. How are you, yeah?

    Gus Minissi: [Gus turns back to talk to Dix] Looks like I'm in...

    Gus Minissi: [Policeman bangs on the booth again] ... for a working over. Look, go down to Eddie's by way of the...

    Gus Minissi: [Policeman bangs on booth for the third time] ... old car barn.

    Gus Minissi: [Gus turns and waves to the policeman; turns back to talk to Dix] Yeah, it's deserted at night. Once you get beyond that...

    Gus Minissi: [Policeman bangs on booth for the fourth time] ... you're okay. The cops never bother Eddie's neighborhood. So long, Dix. Blow now...

    Gus Minissi: [Policeman bangs booth for the fifth and final time] ... eh?

    Gus Minissi: [Gus turns and waves to the policeman; He hangs up and makes his way out of the telephone booth] All right, all right, all right.