The tone of a movie can be manipulated in many ways, for example, the style of performance can greatly influence how we react to a scene. In Idrosha Ushi's "Heavenly Questions", the tone is objective and realistic, all non-professional actors are used to make the performance style very realistic, and they do not exaggerate emotional Zhang to enhance the drama.
Genre can also help set the tone of the film, with epic films unfolding in a more dignified than life-like manner such as "The Searcher" or "October" The best thrillers are usually tough, vicious, and tough, as "Double Indemnity" and "Deadly Gambler," the comedy's tone is frivolous, playful and even silly.
The off-screen narration can also help set the tone of the film, creating another counterpoint to the objective viewing of the play, for example the narration can be ironic, as in Sunset Boulevard, or sympathetic, as in Dances with Wolves , or even panic, such as "Taxi Driver"; or a Confucian style, such as "A Clockwork Orange" is narrated by a defiant.
The music is most often used to set the tone of a movie. It's all rock and roll, or a Mozart or Ray Charles jazz soundtrack. The atmosphere is completely different, and Spike Lee's "Jungle Fever," where the Italian-American scene is complemented by Frank Sinatra's singing, African-American plays use gospel songs and soul music. 【Chapter 10 Ideology 1. Tone】
Introduction: This Is Where I Came In:
♥︎ Film Noir Locations: For those with background knowledge, there are even real locations (especially in Los Angeles) that seem to be soaked in the film noir aura: Franklin and Ivar Alto Nido Residence Hotel on ), where Nathanael West wrote Day of the Locust (1975); cloth The Bradbury Building, which has been featured in several films and was later chosen as the location for the Los Angeles Pen Pal Club (PEN) honorary title to Billy Wilder; most deserving of course One mention is the Glendale train station at night, which is actually far more colourful and more charming than the one shown in Double Indemnity, which was filmed at a time when the station was being affected by wartime lighting restrictions .
♥︎ The logic of genre construction is not my primary concern, but a little attention can be useful, e.g. (Women, Fire, and Dangerous Things, 1987), a book whose title sounds like a film noir (interestingly, the 1932 adaptation of The Maltese Falcon It was called Dangerous Female, and Billy Wilder and Raymond Chandler's adaptation of Double Indemnity was tentatively titled Incendiary Blonde].
Chapter 1 The History of an Idea
♥︎ Identifying a film noir is always easier than defining the term film noir. You can imagine a gigantic video store, and these movies are always placed between gothic horror and dystopian science fiction: Double Indemnity is in the middle, and the two poles are Leopard Sister (Cat People, 1942) and Invasion of the Body Snatchers (1956). But this arrangement misses important film sequences.
The Birth of Film Noir: Paris, 1946-1959 Noir Is Born: Paris, 1946-1959
● The term film noir, which echoes the "noir series", was first used in a review of five films made around the Second World War while they were in Paris Released in succession, they were: The Maltese Falcon, Double Indemnity, Laura, Murder, My Sweet (1944), and—considering its disappearance in most of the articles that followed A fact, somewhat surprising - "The Lost Weekend" (The Lost Weekend, 1945).
✒︎: Authors who portray the city as an institution usually create a huge single building with many floors and rooms, including huge rooms with hundreds of tables arranged neatly. Stories that use institutions to symbolize the city include The Hospital, American Beauty, Willy Wonka and the Chocolate Factory, The TV Show, Double Indemnity , The Incredibles, and The Matrix.
✒︎: Double Indemnity (1944) is about a man (also played by MacMurray) who believes a single crime will solve all his love and financial difficulties.
✒︎: Wilder (1906-2002) filmed "Inverted Ace" right after "Sunset Boulevard" (1950). "Sunset Boulevard" was nominated for eleven Oscars and won three awards. His work is known for its sharp satire, which is reflected in masterpieces such as Double Indemnity (1944) and The Lost Weekend (1945). Through "Inverted Ace", he completed his self-transcendence. The film's ruthless revelations of American media farce terrified critics and displeased audiences; the film's premiere failed, and it went on to triumph at several European film festivals, where it was retitled The Big Carnival, but the box office remains bleak.
✒︎: Movies with brilliant, fast, and vibrant dialogue look better on TV than ever - they're still not great, but they look better on TV than films that would otherwise be great good. (When we hear tabloid reporters rant about corrupt politicians, we recall once again the joyous audacity, presumptuousness, and thick-skinnedness of a time when the targets of public irony were just enough to make us laugh. dripping little people.) The wit of dialogue (as in comedies like Preston Sturges' Unfaithfully Yours (1948)) does not fade over time, even if Not too much to lose in a tense drama like Double Indemnity.
✒︎ Stig: Do you read detective novels?
Woody: There are few really good detective stories. Of the murder stories I've read, the only good one is Ella Levine's "Kiss Before You Die," which was made into a movie twice, and the movie isn't great, but the story itself is great. Other than that I really haven't read a murder story that I appreciate. Double Indemnity  is a great movie, an amazing American classic. Truman Capote's "In Cold Blood" is also amazing for its in-depth portrayal of a news story, so as much as I love detective and murder movies, there are very few really good ones. "Falcon of Malta"  is very good, "Double Indemnity" is unmatched. I also enjoyed Costa Garvas' Murder in the Sleeping Car, and of course some Alfred Hitchcock films.
✒︎: Chandler laid out the "noir aesthetic" for detective films: street lights, kinky rain, black trench coats, dirty bars, erotic and grim music, weird-looking strangers, a sudden bullet across the street, and amorous feelings All kinds of black women. These black women have always had strong confidence in their beauty and attractiveness, never giving up a single opportunity to use it. Chandler and Wilder's "Double Indemnity," co-written by Wyde, has one such woman, a woman who the audience knows she's not a good person as soon as she appears: an anklet, tight clothes, hot eyes; a life insurer who seduced her husband To murder her husband, because then she can get "double compensation": $100,000. Still, the black woman pales in comparison to Mrs Greer in the adaptation of Chandler's Farewell, My Lovely (1940).
✒︎: Why is the federal government suing them? Because they were so big, the big studios at the time controlled almost everything related to film. It seems a bit vague to say this. If you want to be more specific, a studio can first sign all the filming staff, including screenwriters, directors, actors, producers, photographers, art, editing, all kinds of positions you want, You have to sign a contract with the studio, you can only work for this studio. For example, Billy Wilder, the director of the film "The Seven Year Itch" starring Marilyn Monroe, worked exclusively for Paramount before his contract was terminated in 1945. Worked for several years. The film is shot in the studio's studio, with the manpower of the studio, sent to the studio's post-production center for printing and editing, and then distributed to the studio's own theaters through the studio's channel.
We can imagine that if the audience of that period wanted to see Double Indemnity (1944), he had to know which studio made the film. Because, you can only see "Double Indemnity" produced by Paramount when you go to Paramount's own theater, or an independent theater with a contract. Warner's theaters will not play "Double Indemnity", it will only play its own films.
☼ Other books (non-movie books):
✒︎: What has changed for people who write novels.
There is a writer named Raymond Chandler in the United States. He started writing detective novels in 1933. By 1944, he was hired by Hollywood as a screenwriter, and participated in "Double Indemnity" and "Black Dahlia". Screenwriting of the film. By 1950, Chandler was working with director Hitchcock on the film Strangers on a Train. I don't know if you have seen this movie. On the train, two passengers chatted, and the conversation deepened. One hated his wife and the other hated his father. The two discussed, let's kill each other, you help me kill my father, and I will help you kill your daughter-in-law. The story goes by This expands. The original author of the novel is Patricia Highsmith. After Hitchcock bought the copyright, he asked seven or eight screenwriters to help him change the script, but he was not satisfied, and then he found Chandler. Chandler thought he was a big shot, but Hitchcock believed that the job of a screenwriter was to straighten out the story, change the narrative of the novel into the narrative of the movie, and write the dialogue of the characters well, with tension and room for performance. The cooperation between the two was very unpleasant. It is said that Hitchcock later threw the script written by Chandler into the trash can with his nose in front of others, and invited another screenwriter. Chandler was a screenwriter in Hollywood and suffered a lot of grievances. He wrote articles criticizing Hollywood. After reading it, a producer who worked with him said something like this, saying that Chandler's novels are not good enough for him to write. such an article. This sentence is actually very hurtful. After quitting Hollywood, Chandler finally wrote his best novel "The Long Goodbye". This was sixty or seventy years ago.
✒︎: Pornography begins when men use women's bodies as objects of peeping, but the object is a living body that can be seen or avoided, and since men start watching, women start to avoid. So all the effort put into making it easier to watch becomes the subject of porn.
From the bottom to the top is a potentially effective peeping angle. From the narrow gap between the fabric and the knees, the eyes seek the imagined and expected secret realm, which is an embarrassing physical weakness and a source of temptation not without pride. . From bottom to top, it is not only an extension of vision, but also an extension of imagination. Under the barrier of overlapping layers of clothing, the tentacles of erotic fantasies look for viewing objects that are homogeneous or heterogeneous and closely related to the hidden place. , knees, underwear and folds on underwear - it's both a sort of second-best solution and an ever-expanding erogenous zone.
In the film noir Double Indemnity, written by Raymond Chandler and directed by Billy Wilde, Phyllis, who is charming and ruthless, wears a gold anklet on his left ankle. As she lifted her left leg and sat down in front of Neff, the insurance salesman, lust and intrigue began. In the dim living room, with anklets gleaming from the bottom up, Neff used the form and content of a salesman Say in a vulgar way: "That's sa honey of an anklet you' re wearing, ma'am, your anklet is really cute." It's not just bracelets that are cute.
✒︎: Under the new conditions of censorship and regulation, a small number of people in the film industry are more willing to seek opportunities in the free environment of Hollywood. Those who found an opportunity included director Fritz Lang, who made a series of successful films such as "Murderer M," "Metropolis" and "The Nibelungen," the latter of which It has always been Hitler's favorite epic movie. Long's film The Testament of Dr. Mabuse, an indirect satire of the Nazis, was originally scheduled for release in the spring of 1933, but was banned as its premiere approached. Following in his footsteps in exile was Billy Wilder, whose pre-departure pop romances rarely reveal his Hollywood-shot Double Indemnity and Lost Weekends. " (The Lost Weekend) and other films shown in bold. In the decades that followed, both produced some of the most successful films in Hollywood.
Now, we can clearly see the important role of setting emotions in changing the situation of the other party. However, when it comes to negotiating prices, bidding first is not the best way to go.
In 1944, famed film director Billy Wilder asked famed detective novelist Raymond Chandler to write the script for Double Indemnity. At the time, Chandler was still new to Hollywood, but he agreed to negotiate, and at a meeting with Wilder and the filmmakers, Chandler offered his first expected pay: He got straight to the point. Asked for $150 a week and told Wilder that it would take him 3 weeks to complete the job.
Wilder and the producers couldn't help laughing because they were going to pay Chandler $750 a week and they thought the script would take a month to write. But Chandler was lucky, Wilder and the producers valued their friendship with Chandler more than a few hundred dollars, and they bemoaned Chandler's offer, so they found an agency to represent Chandler Le negotiation.
Many experts believe that never be the first to speak. In the 1940s, famed film director Billy Wilder once wanted to hire novelist Raymond Chandler to help him write the screenplay for the film Double Indemnity. Chandler, who had written quite a few detective novels, was new to Hollywood at the time, but was ready to talk to Wilder.
In his first interview with Wilder and filmmaker Joe Sistrom, Chandler raised the issue of salary. He asked for $150 a week and reminded Wilder that it might take two or three weeks to finish the script.
Wilder and Sistron were happy. They were going to pay Chandler $750 a week, and they knew that screenplays usually took months to write, not weeks. If this were a transactional negotiation, Chandler would lose a lot of money.
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