The Axis of Light
4:25am -- the sky is starting to become visible as I look out my bedroom window which is partially covered by a flimsy curtain.
I cannot limit myself to what I've said i'd limit myself to.
Always is the undercurrent of freedom.
No one is keeping you here -- from The Touch of Evil, a film noir classic directed by Orson Welles, let me therefore use this as an example to talk about that wonderful movie.
The theme music is immortally great to me, and Iove how it's used in a Kuchar short film, or maybe more than just one.
Some of the dialogue in Touch of Evil make me cringe though, Janet Leigh is delivering most of them, it feels off, and I want to know whether it was just a quirk particular to the late 50s, or was it an Orson Welles quirk, or if it's referencing something everyone but me knows about. There's a percussive quality of the sound of the voices and what they're saying. There's a similar dialogic percussiveness to The Dark Knight, let me use that example here -- it is when Batman and the Joker are verbally disputing with either themselves or other characters, they use motto like phrases as weapons. THAT makes me cringe, it's like it doesn't know how to naturally use those motto's ideas into natural discourse. It's a issue of an argumentative age, when we can't agree with each other so we just yell out phrases encapsulating our worldviews, and then that leads naturally to unnatural circumstances. ---- so here in Touch of Evil there is a similar kind of percussiveness, not content-wise identical, but having the same effect upon me.
As a film though overall I give it a perfect score, because it is unique and is the last great noir film till such films as Chinatown rejuvenated the genre which is best seen in their original time places in the 40s and 50s.
I love the looks of the beginnings and endings of those old Hollywood black and white movies of those 2 decades, the titles, how those words - the title and names of the stars and crew --- are framed with the backdrop of either a location with say bare tree branches, with music that often has a bold quality, like its saying -- hey you, pay attention here, we got something special for ya, but it won't mean nuttin' unless you pay attention.
Paying attention -- that is what keeps dad from giving the respect a movie deserves, he doesn't look at it until there's a speaking scene having been going on for at least a minute or 2. Then if any of the characters says something or behaves a certain way, my dad will respond as if he was right there in the scene with them, but also knowing they can't hear him, so he feels secure enough to say offensive things about them, like they're stupid, and the lighting crew when the room being photographed isn't well lit, that they mustn't have had enough funding for lighting. Chiaroscuro if I said the word to him he'd say I was just making that word up.
Cinema doesn't mean anything to him, because entertainment always has to be inoffensive to him, it has to shield his eyes from human foibles, from whatever he doesn't want to pay attention to, which is what he is fleeing, you could call it reality.
A movie that is set in a brothel, and all he'll say is "You better find another line of work lady."
Those kinds of things are unacceptable to bare while one who actually values movies tries to enjoy them, it's like
I was going to extrapolate on this theme but decided to look at the time.
4:47am as I come to a close here, great reading going on, I may soon talk more specifically about them. But whatever I may do, may I never again knowingly do anything contrary to what is personally most important, all my mistakes have to be seen after the fact, and so I wish to see less mistakes gradually, as I get better at my method of doing things.
I cannot limit myself to what I've said i'd limit myself to.
Always is the undercurrent of freedom.
No one is keeping you here -- from The Touch of Evil, a film noir classic directed by Orson Welles, let me therefore use this as an example to talk about that wonderful movie.
The theme music is immortally great to me, and Iove how it's used in a Kuchar short film, or maybe more than just one.
Some of the dialogue in Touch of Evil make me cringe though, Janet Leigh is delivering most of them, it feels off, and I want to know whether it was just a quirk particular to the late 50s, or was it an Orson Welles quirk, or if it's referencing something everyone but me knows about. There's a percussive quality of the sound of the voices and what they're saying. There's a similar dialogic percussiveness to The Dark Knight, let me use that example here -- it is when Batman and the Joker are verbally disputing with either themselves or other characters, they use motto like phrases as weapons. THAT makes me cringe, it's like it doesn't know how to naturally use those motto's ideas into natural discourse. It's a issue of an argumentative age, when we can't agree with each other so we just yell out phrases encapsulating our worldviews, and then that leads naturally to unnatural circumstances. ---- so here in Touch of Evil there is a similar kind of percussiveness, not content-wise identical, but having the same effect upon me.
As a film though overall I give it a perfect score, because it is unique and is the last great noir film till such films as Chinatown rejuvenated the genre which is best seen in their original time places in the 40s and 50s.
I love the looks of the beginnings and endings of those old Hollywood black and white movies of those 2 decades, the titles, how those words - the title and names of the stars and crew --- are framed with the backdrop of either a location with say bare tree branches, with music that often has a bold quality, like its saying -- hey you, pay attention here, we got something special for ya, but it won't mean nuttin' unless you pay attention.
Paying attention -- that is what keeps dad from giving the respect a movie deserves, he doesn't look at it until there's a speaking scene having been going on for at least a minute or 2. Then if any of the characters says something or behaves a certain way, my dad will respond as if he was right there in the scene with them, but also knowing they can't hear him, so he feels secure enough to say offensive things about them, like they're stupid, and the lighting crew when the room being photographed isn't well lit, that they mustn't have had enough funding for lighting. Chiaroscuro if I said the word to him he'd say I was just making that word up.
Cinema doesn't mean anything to him, because entertainment always has to be inoffensive to him, it has to shield his eyes from human foibles, from whatever he doesn't want to pay attention to, which is what he is fleeing, you could call it reality.
A movie that is set in a brothel, and all he'll say is "You better find another line of work lady."
Those kinds of things are unacceptable to bare while one who actually values movies tries to enjoy them, it's like
I was going to extrapolate on this theme but decided to look at the time.
4:47am as I come to a close here, great reading going on, I may soon talk more specifically about them. But whatever I may do, may I never again knowingly do anything contrary to what is personally most important, all my mistakes have to be seen after the fact, and so I wish to see less mistakes gradually, as I get better at my method of doing things.
46-50, M