tag:blogger.com,1999:blog-90013847378688089022024-03-27T02:37:46.390-04:00Make Mine Film NoirAnd neo-noir. And maybe independent and foreign film, and noir literature . . . .Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.comBlogger255125tag:blogger.com,1999:blog-9001384737868808902.post-43786216834039662332024-03-25T19:20:00.000-04:002024-03-25T19:20:48.151-04:00Marlowe (2022)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I approached <i>Marlowe</i>
with a mixture of anticipation and skepticism. The anticipation came from the
fact that I am a fan of Philip Marlowe and of Raymond Chandler’s stories and
novels about him. But I didn’t think I could expect this film to live up to the
others that have been produced before. For one thing, it is a 2022 color
production that probably wouldn’t fare well compared to the shadowy
black-and-white films from the 1940s and 1950s. And this 2022 color production
isn’t even based on Raymond Chandler’s work; it is based on a novel by Benjamin
Black: <i>The Black-Eyed Blonde</i>.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgIkK3QsEemEYGL30brv2aQ05N5pAuA-SJZSD-t74XVtvL1wCTcpojo1svqB8eVDG16sw5wwF2yJnP2XJRugDMdGa0Qpej04HCzGgLd_oqzTNdEeLnjVt-YIn2yKsEQO-2jvitzDtYmIZ60IoCUEnE5PkN5bifm55FiALF-7HuGfzdGZqsCotxxyJ_H10/s1174/Marlowe_Title%20card,%20with%20Philip%20Marlowe%20smoking%20in%20his%20office.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="1174" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgIkK3QsEemEYGL30brv2aQ05N5pAuA-SJZSD-t74XVtvL1wCTcpojo1svqB8eVDG16sw5wwF2yJnP2XJRugDMdGa0Qpej04HCzGgLd_oqzTNdEeLnjVt-YIn2yKsEQO-2jvitzDtYmIZ60IoCUEnE5PkN5bifm55FiALF-7HuGfzdGZqsCotxxyJ_H10/w400-h168/Marlowe_Title%20card,%20with%20Philip%20Marlowe%20smoking%20in%20his%20office.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">But I am happy to say
that I enjoyed the film plot’s twists and turns, so reminiscent of film noir.
Raymond Chandler’s novels are plot-twisty, too. He sometimes assumes that if
Marlowe notices something, a small detail, something barely out of the
ordinary, readers will notice and remember it, too. But I didn’t find the plot
of the film as complicated as a Chandler novel. I had plenty of time to
concentrate on Liam Neeson and his performance in the role of Philip Marlowe. I
like Neeson, and he is good at projecting a world-weary private detective. But
he’s older than the Philip Marlowe in Chandler’s novels, and I kept coming back
to that fact.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
opening credits appear over the start of the day for Philip Marlowe. Over a
radio broadcast that he is listening to at home, he and viewers hear the news
of Hitler’s views about Poland and Czechoslovakia. Type on-screen announces
that it is 1939 in Bay City, California. The narrative starts with Marlowe now
in his office turning away from the window and lighting a cigarette. His
secretary announces a client, Mrs. Clare Cavendish, who wants Marlowe to find
her lover Nico Peterson. Peterson has disappeared without saying goodbye.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbruyqQyTGLa_w-rIl2NLAZC0rOL1gg9cD3fJJG-kShuC2Y-KxLZ59LWhRHdMG6ouDyKtSMrG4eGBNs_I6N7QiVBujitDZyA7vpjP4CahAXs2BQ5oYj9MdApYuo46dxXEfUh7qa6MiVi0KTT7C1FFDr7W46OfQU6yuHGhcWVuJM42SKmkzDKXW47tUDO8y/s1165/Marlowe_Clare%20Cavendish%20comes%20to%20Marlowe's%20office%20to%20hire%20him%20to%20find%20Nico%20Peterson_Marlowe%20offers%20a%20ciigarette.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="1165" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbruyqQyTGLa_w-rIl2NLAZC0rOL1gg9cD3fJJG-kShuC2Y-KxLZ59LWhRHdMG6ouDyKtSMrG4eGBNs_I6N7QiVBujitDZyA7vpjP4CahAXs2BQ5oYj9MdApYuo46dxXEfUh7qa6MiVi0KTT7C1FFDr7W46OfQU6yuHGhcWVuJM42SKmkzDKXW47tUDO8y/w400-h169/Marlowe_Clare%20Cavendish%20comes%20to%20Marlowe's%20office%20to%20hire%20him%20to%20find%20Nico%20Peterson_Marlowe%20offers%20a%20ciigarette.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">This
opening sequence with Clare Cavendish is slow-paced. The first time that I saw
the film, I was afraid the opening sequence might indicate that the entire film
would be boring, but I realized afterward, after Marlowe takes the case and he
starts his investigation in earnest, that the right word is <i>languid</i>. The
dialogue between Marlowe and Cavendish is languid, with plenty of room for
innuendo and mild flirtation—and for questions answered with questions. The
kind of conversation that probably would intrigue any private detective.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">(This article about <i>Marlowe</i>
contains some spoilers.)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Marlowe
starts his investigation at Nico Peterson’s last known address. The house is
empty, with newspapers collecting. Peterson’s neighbor shows up and tells
Marlowe about Mexicans looking for Nico Peterson, too. He uses derogatory terms
to describe them, which is similar to how characters would talk to Marlowe in
Chandler’s novels. It isn’t long before Marlowe discovers that Peterson has
died. He was hit and killed on </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Bay Canyon Drive,
outside the Corbata Club, by a driver who did not stay on the scene. Marlowe checks
the autopsy report at Bay City Police Headquarters, but he still has questions.
He goes to see Joe Green, a homicide detective who is a friend of Marlowe’s. Green
tells Marlowe not to pursue the case: Nico’s sister Lynn identified the body, the
death was ruled an accident, and that was the end of it—but not for Marlowe, of
course.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAW-s539XeHF8pGikXes83-aRq4-74yhFKqrJ8cTnU7M2M0uhnJW2o-42Vr4n3do8-fhlB7QvBSQt4Ss4COkfZzVZ8oINMp17611exk2iL6nElCwAPEe025Mzj-2KGeE4rxqooYCJu5cUi_c-yEfWLXsFUBaTD4MQ4y7DQkueWAp3la9siVD7ADWSp187_/s1180/Marlowe_Bernie%20Ohls%20tells%20Marlowe%20that%20LAPD%20found%20Lynn%20Peterson's%20body_They're%20sitting%20at%20the%20counter%20at%20Schmidt's%20diner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="1180" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAW-s539XeHF8pGikXes83-aRq4-74yhFKqrJ8cTnU7M2M0uhnJW2o-42Vr4n3do8-fhlB7QvBSQt4Ss4COkfZzVZ8oINMp17611exk2iL6nElCwAPEe025Mzj-2KGeE4rxqooYCJu5cUi_c-yEfWLXsFUBaTD4MQ4y7DQkueWAp3la9siVD7ADWSp187_/w400-h165/Marlowe_Bernie%20Ohls%20tells%20Marlowe%20that%20LAPD%20found%20Lynn%20Peterson's%20body_They're%20sitting%20at%20the%20counter%20at%20Schmidt's%20diner.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">He eventually gets
Bernie Ohls (a familiar name to Chandler/Marlowe fans) involved in the case
because Nico Peterson’s sister Lynn has been kidnapped by the Mexicans. Marlowe
feels responsible: He and Lynn were at Nico’s house when the Mexicans appeared,
knocked out Marlowe, and took Lynn. Bernie works for the Los Angeles Police
Department (LAPD), and he has a wider jurisdiction than Joe Green—and he isn’t
willing to let a kidnapping go, even if it means opening the case on Nico
Peterson and treating it as a homicide instead of a kidnapping. Bernie Ohls is
the one to tell Marlowe that LAPD found Lynn Peterson’s body. Marlowe knows she
is dead when Ohls says, “She’ll wait till we get there.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">As the investigation
proceeds, Marlowe meets several characters who have secrets and ulterior
motives. Marlowe talks to Floyd Hanson, the manager of the Corbata Club, who
doesn’t seem at all interested in Nico Peterson or his unfortunate death. He
wants to keep investigators out of the club because it caters to the rich and
all their vices, including illicit drugs shipped from Mexico and underage boys
and girls. Lou Hendricks wants to find Nico Peterson because of the Mexican
connection. Nico has some valuable merchandise that belongs to Hendricks, and
he isn’t willing to let it go. The Mexicans looking for Nico are hit men. They
are not so much interested in Nico as they are interested in what he is
stealing from Hendricks. All the pieces are interconnected, and Marlowe has to
uncover the connections.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Except for Liam Neeson’s
age, he makes a great Philip Marlowe. He portrays the right amount of
world-weariness and chivalry to be convincing. If my calculations are correct,
Neeson was sixty-nine years old during filming, and that’s about twice the age
of the fictitious Philip Marlowe. The actors and the screenwriter are well
aware of Neeson’s age. Neeson as Marlowe even says out loud during a fight with
two adversaries that he is “getting too old for this.” Detective Joe Green
comments on Marlowe’s age, too, and wonders if Marlowe keeps working because he
doesn’t have a police officer’s pension. I would still love to see Neeson again
in the role of Philip Marlowe. Would his age be even more noticeable, and would
that be a negative? All I can say is that I enjoyed his portrayal this time
around, and I would see another Marlowe film with Neeson in the lead.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUIkUvJzovBlme-ZIsUMT4aQtq7PdMvTpxagM2QXSustQUdPNX87Nrnyb1nFvPJ4Uot8156hBSzuZgI_MGdidCcgFnk1ZUwUtp-17UzzUczzK7z1Gvf-_Z8n7THyECHM903angYdwz34dhRf1GUgdKxt2QL_w_JHoIOTo1MbiGJ1F4PbYiAmbWq3keH67/s1177/Marlowe_Joe%20Green,%20Bernie%20Ohls,%20and%20Philip%20Marlowe%20stake%20out%20the%20Corbata%20Club%20looking%20for%20the%20Mexicans,%20Lou%20Hendricks,%20and%20Floyd%20Hanson.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="1177" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUIkUvJzovBlme-ZIsUMT4aQtq7PdMvTpxagM2QXSustQUdPNX87Nrnyb1nFvPJ4Uot8156hBSzuZgI_MGdidCcgFnk1ZUwUtp-17UzzUczzK7z1Gvf-_Z8n7THyECHM903angYdwz34dhRf1GUgdKxt2QL_w_JHoIOTo1MbiGJ1F4PbYiAmbWq3keH67/w400-h165/Marlowe_Joe%20Green,%20Bernie%20Ohls,%20and%20Philip%20Marlowe%20stake%20out%20the%20Corbata%20Club%20looking%20for%20the%20Mexicans,%20Lou%20Hendricks,%20and%20Floyd%20Hanson.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Marlowe</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is based on the novel </span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Black-Eyed Blonde</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> by Benjamin Black, which I have read. The
second half of the novel and the second half of the film are so different from
one another that if I had seen only the second half of the film, I would have
found it hard to believe the two were connected. I enjoyed the film so much
more than the novel, which doesn’t happen very often, although I find it
happens much more with film noir and neo-noir than it does with other types of
films. I thought the screenplay was much more clever than the novel, although
it wasn’t necessarily any truer to Raymond Chandler and Philip Marlowe. In
fact, the details that I really appreciated had little to do with Chandler’s
novels. The literary references sprinkled throughout the film’s narrative were
wonderful, as they would be for anyone who enjoys literature, and Chandler in
particular, as much as I do.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Literary References</span></i></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Here are
some examples of the film’s literary references.</span></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></i></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The first time that Philip Marlowe meets Dorothy
Quincannon, Clare Cavendish’s mother (played with great aplomb by Jessica
Lange), she is on horseback, and she wants to know what his business is with
her daughter. She asks him if he is “looking for pearls,” a sly reference to<span style="color: blue;"> </span>“Pearls Are a Nuisance,” a short story written by
Raymond Chandler (published in April 1939 in <i>Dime Detective</i>, so Dorothy Quincannon
could have heard of it, could have read it). She had a private investigator
find out about Marlowe, and she tells him a little of what she learned. Dorothy
and the screenwriters are clever: What she recounts is a mix of details from
Chandler’s private life (for example, he drank himself out of a good job in the
oil business, had a bad experience in World War I) and Philip Marlowe’s
backstory (the character Marlowe used to work for the LAPD as an investigator).<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">When Philip Marlowe meets Dorothy Quincannon again, this
time at the Garden of Allah Hotel, he catches her in the middle of instructing
the waiter on making tea properly: “When you make tea, make tea. When you make
water, make water.” This is a paraphrase from <i>Ulysses</i> by James Joyce (</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">“When I makes tea I makes tea, as old mother Grogan said. And when I
makes water I makes water.”), and </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Philip
Marlowe points out to Dorothy Quincannon that she is stealing from Joyce. It is
an opportunity for the Irish director/screenwriter, Neil Jordan, to put words
into an Irish actor’s mouth by pointing out the literary theft of an Irish
author’s words. (I found it doubly clever.)</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiphq424IZeZgUvBiUaO84hEnQ9u2d23q3QG-kHiT7mR3NDyow89M4cfzfh93h9uwiCtgJA7EIu-6NSTX2dkBgkfBGpyNDGtEVTJU3wZq5xuVkZfG6yMG7Z_-NRZMX1CWlaZtMPvrAWs-Pvl-LyIGA47qrsZ0klM9yhHoGJtiUwLSGEcEYNYgBQRafNuT4z/s959/Marlowe_Dorothy%20Quincannon%20talks%20to%20Philip%20Marlowe%20at%20the%20Garden%20of%20Allah%20Hotel%20about%20finding%20Nico%20Peterson.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="959" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiphq424IZeZgUvBiUaO84hEnQ9u2d23q3QG-kHiT7mR3NDyow89M4cfzfh93h9uwiCtgJA7EIu-6NSTX2dkBgkfBGpyNDGtEVTJU3wZq5xuVkZfG6yMG7Z_-NRZMX1CWlaZtMPvrAWs-Pvl-LyIGA47qrsZ0klM9yhHoGJtiUwLSGEcEYNYgBQRafNuT4z/w400-h205/Marlowe_Dorothy%20Quincannon%20talks%20to%20Philip%20Marlowe%20at%20the%20Garden%20of%20Allah%20Hotel%20about%20finding%20Nico%20Peterson.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Marlowe tells Nico Peterson, “My determination for some
time has been that reports of your death were greatly exaggerated.” The quote
by Mark Twain actually reads, “The report of my death was an exaggeration.”
Most people (me included) remember it the way that Marlowe says it. <br /></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Differences
Between Marlowe in the Film and Marlowe in Chandler’s Novels</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Philip Marlowe in the
film isn’t exactly like Marlowe in Chandler’s novels, and I can’t resist
pointing out some examples. Others will probably notice them, too.<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">In the film, Marlowe has a secretary named Hilda, but he
doesn’t have a secretary in any of the novels. He has an empty antechamber outside
his office that clients can sit in while waiting to see him.<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The film includes more guns and violence. There is a
scene where Philip Marlowe and Cedric use long guns (are some of them machine
guns?) to kill Floyd Hanson and Lou Hendricks.<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The violence is more explicit. For example, viewers see
Nico Peterson’s head squashed at the start of the film, when everyone still
thinks the dead body is Nico Peterson’s.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> I already mentioned that Liam Neeson is older than Philip
Marlowe, but it’s a difference that is very hard to ignore, even though I
enjoyed the film and Neeson’s performance as much as I did. Production on the
film was two months starting in November 2021, which would make Neeson
sixty-nine years old at the time of filming, about twice Marlowe’s age, give or
take.<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Philip Marlowe uses profanity in the film; he doesn’t in
the novels.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDC4QImtilUIEkS2gOFL8IqmpZU2ukSoJM_b7C63JiGE-b8R9MvLuftygHrcc3GFbmE8_ueF9pW3C_2yD6MwQbhg-zuQGq5KsZZ1i2n5rWXs6P-I5xOFYUfo9MLSln8gQg3sTIJldVZXNfmmw31QzBX9g5azPYDZF5BbjKsLk_10TTk5jTrPD7sVnT4ohj/s1155/Marlowe_Philip%20Marlowe%20finds%20a%20copy%20of%20The%20Elements%20of%20Style%20at%20Nico%20Peterson's%20house.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="1155" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDC4QImtilUIEkS2gOFL8IqmpZU2ukSoJM_b7C63JiGE-b8R9MvLuftygHrcc3GFbmE8_ueF9pW3C_2yD6MwQbhg-zuQGq5KsZZ1i2n5rWXs6P-I5xOFYUfo9MLSln8gQg3sTIJldVZXNfmmw31QzBX9g5azPYDZF5BbjKsLk_10TTk5jTrPD7sVnT4ohj/w400-h170/Marlowe_Philip%20Marlowe%20finds%20a%20copy%20of%20The%20Elements%20of%20Style%20at%20Nico%20Peterson's%20house.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">It’s too bad that <i>Marlowe</i>
didn’t garner more positive reviews when it was first released. I guess no one
else enjoyed the literary allusions as much as I did. Screenwriter Jordan even
has Marlowe finding a copy of <i>The Elements of Style</i>, a writer’s style
reference, in Nico Peterson’s home and sitting down to read it. It matches
nothing in </span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
Black-Eyed Blonde</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">, nothing in
Chandler’s novels. If I ever have the chance to meet Neil Jordan, I would
really like to ask him, “Why <i>The Elements of Style</i>?” Because I have my
own story to tell about it!</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">September
24, 2022 (San Sebastián International Film Festival), February 15, 2023 (United
States), release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Neil Jordan<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by William Monahan, Neil Jordan<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the novel <i>The Black-Eyed Blonde</i>
by Benjamin Black<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by David Holmes<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Mick Mahon<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Xavi Giménez</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Liam Neeson</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Philip Marlowe <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Diane
Kruger</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Clare Cavendish<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Jessica
Lange</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Dorothy Quincannon<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Adewale Akinnuoye-Agbaje as
Cedric<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Ian Hart</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Joe Green<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Colm
Meaney</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Bernie Ohls<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Danny
Huston</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Floyd Hanson<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Alan
Cumming</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Lou Hendricks<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Daniela Melchior</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Lynn
Peterson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">François
Arnaud</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Nico Peterson<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Seána
Kerslake</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Amanda Toxteth<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Patrick Muldoon</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Richard
Cavendish</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Metropolitan Filmexport (France), Briarcliff
Entertainment, Open Road Films<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced by Parallel Films, Hills
Productions, Davis Films</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-61486361913815650632024-03-10T19:28:00.000-04:002024-03-10T19:28:44.410-04:00Mortal Thoughts (1991)<p><!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Mortal Thoughts</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> isn’t an easy film to watch, but it’s a good one, and I
have seen it multiple times. It’s a film that rewards repeat viewings because
the plot has many twists and turns that become easier to understand and follow.
I suppose some would say that viewers shouldn’t need to see a film more than
once to follow the plot, but even the simplest films reward repeat viewings.
It’s so easy to miss a detail here and there when watching any film. And the
main character, Cynthia Kellogg, is the one telling her story, twisting and
turning it into something she hopes police detectives will believe.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLBd9lDg9zqj681YCQN_Q7JFPUe0kosw-AAzS81meecDT8jc6LIkKBjd_FSyiaFocwm4LWT8U-WGQN74PxWuJOGKaKjf3vcUYtj42ElNIvbhjCp05NkdmlpV4Bju7KOxxB-FiQUWK_Tc0_4MOEV9h1L1mavPTPxcgpzyeQIkMF3YFQS5wXtTjuUIZrh5B/s777/Mortal%20Thoughts_Close-up%20of%20Cynthia%20Kellogg%20arriving%20at%20the%20police%20station.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="777" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLBd9lDg9zqj681YCQN_Q7JFPUe0kosw-AAzS81meecDT8jc6LIkKBjd_FSyiaFocwm4LWT8U-WGQN74PxWuJOGKaKjf3vcUYtj42ElNIvbhjCp05NkdmlpV4Bju7KOxxB-FiQUWK_Tc0_4MOEV9h1L1mavPTPxcgpzyeQIkMF3YFQS5wXtTjuUIZrh5B/w400-h303/Mortal%20Thoughts_Close-up%20of%20Cynthia%20Kellogg%20arriving%20at%20the%20police%20station.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Mortal Thoughts</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> starts with grainy, black-and-white home movies behind
the opening credits. They feature two girls at different ages, s</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">itting and eating on a blanket spread out on a sparse, rocky lawn;
wrestling on the floor of a house; playing on the sand of a beach; jumping rope
on a sidewalk. The silence of the home movies is a little unnerving; maybe that
was the point. But it is also true that sound was not a typical feature of home
movies from the late 1950s and early 1960s.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">After the opening credits, the film
cuts to Cynthia Kellogg moving through a police station in slow motion. She is
escorted into an interrogation room by Detective Linda Nealon. The pace of the
film becomes normal with a close-up of Cynthia Kellogg. Viewers see her once
again in black and white, this time through the view finder of the camera that
Detective Nealon sets up to record Kellogg’s interrogation. Detective Nealon’s
partner, Detective John Woods, enters the interrogation room, and the questions
start. Cynthia Kellogg refuses her right to an attorney because she is innocent,
she says: She didn’t kill anyone.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oGtx6NrlaIB2AVrwOAVB81Ln4ETiLPEo9sn1k9DTd7wYe6-ojgfu87U0jPF9KDm389f7mcGfaUpITXSQNcmJrYt6cJLUbPjs3c_SgWPAYxNaK7S11wkqgHjy6gvWDSoje4NZYh_s-ZsBoVPr7pF3mUFpNZ89Z9IWXhEuv6ADHVdy6fZ7r5CYDUlHozmB/s778/Mortal%20Thoughts_Detective%20Linda%20Nealon%20prepares%20for%20Cynthia%20Kellogg's%20police%20interview.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="778" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8oGtx6NrlaIB2AVrwOAVB81Ln4ETiLPEo9sn1k9DTd7wYe6-ojgfu87U0jPF9KDm389f7mcGfaUpITXSQNcmJrYt6cJLUbPjs3c_SgWPAYxNaK7S11wkqgHjy6gvWDSoje4NZYh_s-ZsBoVPr7pF3mUFpNZ89Z9IWXhEuv6ADHVdy6fZ7r5CYDUlHozmB/w400-h301/Mortal%20Thoughts_Detective%20Linda%20Nealon%20prepares%20for%20Cynthia%20Kellogg's%20police%20interview.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i>Mortal
Thoughts</i> contains all the spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The two protagonists in the film,
Cynthia Kellogg, played by Demi Moore, and Joyce Urbanski, played by Glenne
Headly, are longtime friends. The home movies depict the start of their
friendship in childhood. But how well do these two friends really know one
another? The details of their relationship and the murder hinted at by Cynthia
when she starts the police interrogation are revealed slowly through her
testimony, which is a combination of her speaking directly with the detectives
and a series of flashbacks.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The detectives begin the interview
by asking about trouble in the Urbanski marriage, and the film starts a series
of transitions between the present, Cynthia’s interview with the police
detectives, and the past, the events leading up to the death of Jimmy Urbanski
as recalled by Cynthia. Cynthia remembers seeing some trouble at the wedding
reception. In a flashback, viewers see newlywed </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jimmy Urbanski drinking and arguing with his wife over
the purse that contains the wedding gifts of money.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUs0ZCJ33l3pW8P88zHZ3ExN7bemHtAosEfzHKl7fTYGBU6w9gFLPTEtEM_GF5ME3mveeQHluhKhzc7dJ6Pv-JywrPuzjshX6Szao0ydwR5RLfGiqyQZurEAoF3MPfY7fpBakgsetDEzu5MGYDXcurk3TT3Gxr6k99EBqOOmLNmz6EoVuC12lAYWvbOKYx/s776/Mortal%20Thoughts_Detective%20John%20Woods%20challenges%20Cynthia%20Kellogg's%20version%20of%20events_Detective%20Linda%20Nealon%20sits%20in%20the%20background.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="776" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUs0ZCJ33l3pW8P88zHZ3ExN7bemHtAosEfzHKl7fTYGBU6w9gFLPTEtEM_GF5ME3mveeQHluhKhzc7dJ6Pv-JywrPuzjshX6Szao0ydwR5RLfGiqyQZurEAoF3MPfY7fpBakgsetDEzu5MGYDXcurk3TT3Gxr6k99EBqOOmLNmz6EoVuC12lAYWvbOKYx/w400-h303/Mortal%20Thoughts_Detective%20John%20Woods%20challenges%20Cynthia%20Kellogg's%20version%20of%20events_Detective%20Linda%20Nealon%20sits%20in%20the%20background.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
detectives bring Cynthia back to the present and press again: Were there other
problems in the marriage? According to Cynthia, Joyce had several complaints:
Jimmy comes and goes as he pleases, he is high all the time, he is violent. He
once pulled a knife on Joyce. He punched her so hard once that he put her in
the hospital. In one flashback, Joyce and Cynthia are working in Joyce’s hair
salon, the Clip ’n’ Dye salon in Bayonne, New Jersey. Jimmy’s arrival in the
salon means an argument about a missed appointment for an abortion. Jimmy
definitely doesn’t want any more children, and he doesn’t care that the employees
and customers in the salon can hear their personal conversation. Jimmy shoves
Joyce in the back of the salon, hurting her once again. On his way out, he empties
the till.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
detectives ask Cynthia about Joyce wanting to retaliate and kill her husband
Jimmy. Cynthia says that it was never serious. It was a joke, a running gag. Joyce
did try to defend herself by calling the police, but they didn’t “do sh--,” as
Cynthia says. (This lack of intervention on the part of the police is entirely
believable, especially in 1991, when the film was released. Even after the Me Too
movement, women still find themselves subject to doubt and accusations when
they are the ones being abused and assaulted.) This detail actually creates
some sympathy for Joyce because it demonstrates how trapped she was in her
marriage to a lout like Jimmy.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In
another flashback, viewers learn that the Urbanskis live above the Clip ’n’ Dye
salon. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Cookie, one of the salon employees,
and Cynthia can hear the Urbanskis arguing in the apartment when they (Cookie
and Cynthia) are in the salon. In this particular flashback, Jimmy insists that
Joyce buy sugar. She comes into the salon and asks Cookie to do it. When Cookie
comes back to the salon with the sugar, Joyce gives her the rest of the day
off. Then Joyce mixes the sugar with rat poison in a sugar bowl and takes it
upstairs to the apartment. When Joyce returns to the salon, she tells Cynthia
what she did, and Cynthia goes upstairs to keep Jimmy from using the sugar
laced with poison. Jimmy is rolling a joint and does his best to look down
Cynthia’s blouse when she sits at the table. Cynthia eventually spills the
sugar and Jimmy’s cup of tea, but this only gives Jimmy a chance to show more
of his misogynistic tendencies.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
detectives already know that Jimmy was verbally and physically abusive. Hearing
Cynthia describe Jimmy’s behavior is one thing, but seeing his abusive behavior
is much more powerful, and the flashbacks show Jimmy to be a very unpleasant
sort. Cynthia’s husband Artie cannot understand why Cynthia remains friends
with Joyce. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Artie doesn’t like the Urbanskis,
especially Jimmy. During a conversation with Cynthia, he wonders out loud why a
grown man (Jimmy, that is) still hangs around playgrounds. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">But Joyce and Cynthia are childhood friends with
a long history, and Cynthia works for Joyce in her hair salon. It’s not so easy
to break off this type of relationship; it’s much easier to make excuses for
Jimmy.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcsyV3susxi7Lg4S2D2lvtErtOM-gU02HAzpR4pheRuqDH510dxlhn8cKsr4nau2K4aiz9ZrZsGmksF97C7UYzyWzW8jdVCLXWpQYtR0I_H6OJ9Zt3VhCqL8wL-TjXeAj_ZvtJw7XbfjcIKRToc3wSuuKP1RJWbJa2HSrUDZAoqFnFqCj_q9Vn20cpXwf/s777/Mortal%20Thoughts_Cynthia%20Kellogg%20visits%20Joyce%20Urbanski%20at%20the%20police%20station%20after%20Joyce%20tries%20to%20kill%20herself%20by%20slitting%20her%20wrists.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="777" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcsyV3susxi7Lg4S2D2lvtErtOM-gU02HAzpR4pheRuqDH510dxlhn8cKsr4nau2K4aiz9ZrZsGmksF97C7UYzyWzW8jdVCLXWpQYtR0I_H6OJ9Zt3VhCqL8wL-TjXeAj_ZvtJw7XbfjcIKRToc3wSuuKP1RJWbJa2HSrUDZAoqFnFqCj_q9Vn20cpXwf/w400-h301/Mortal%20Thoughts_Cynthia%20Kellogg%20visits%20Joyce%20Urbanski%20at%20the%20police%20station%20after%20Joyce%20tries%20to%20kill%20herself%20by%20slitting%20her%20wrists.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jimmy
Urbanski died the night of the fair at </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">the Feast of
Saint Rocco, and the detectives’ previous questioning is more like collecting
background information about the events leading up to this night. The night of
the feast, Cynthia and Joyce are looking forward to a night out alone, but
Jimmy decides to join them and piles into the Clip </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">’n’</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> Dye work
van at the last minute. It isn’t long before he tries to touch Cynthia from the
back of the van (she is sitting in the front passenger seat). Joyce, who is
driving, swerves, crosses the yellow line, and heads for a truck to get him to
stop. Joyce swerves out of the way at the last minute, but the night is off to
a dangerous and desperate start. Cynthia tells the detectives that she was
playing roulette at the fair when Joyce and Jimmy got into a physical fight.
Joyce arrived at the gambling table to say that they had to leave because Jimmy
tried to choke her, and Joyce cut his throat in self-defense.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The detectives are skeptical about
Cynthia’s story. Detective John Woods is the one to express doubts: “I don’t
know. Some things— I don’t know. [pause] Did you think you would get away with
this?” He’s playing the part of bad cop; he is the one who starts to badger
Cynthia as the interrogation continues. Cynthia eventually leaves the police
station in a huff, and Detective Woods allows it, in spite of Detective
Nealon’s protests. The detectives have done their homework before talking to
Cynthia, and he thinks that Cynthia will be back. And he is right. Cynthia
Kellogg doesn’t get any further than the front seat of her car before she returns
to the police station.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Did I mention that <i>Mortal
Thoughts</i> takes place during the Christmas season? It’s Christmastime in
Bayonne, New Jersey, and the brightly colored holiday lights outside the police
station bring it all back for Cynthia</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> They remind her of the lights at
the Feast of Saint Rocco. And viewers now see in another flashback that it
wasn’t Joyce who was attacked by Jimmy. Jimmy tried to rape Cynthia in the back
of the </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Clip ’n’
Dye van, and</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> Cynthia was the one who slashed his
throat with a box cutter in self-defense. Cynthia returns to the police
station, and Detective Woods seems to have known all along that she would
return and tell the detectives what really happened. In spite of his badgering
during the interrogation, he seems quite sympathetic toward Cynthia. He lets
her go, trusting that she will return.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfU1DxYgwGSMZ_RnvC3IxB4fSuYXMeN8k0RGvHnsiCohpI4x4M8pl1VlgvtJu5TaOAUsoHN96bDUZRzvsUweLZGricXb6PJ5CAHch73r4TKavoRZymNJs90Geo1xSfwBRviwgeAN_Mt7OmNEL6YI-t1IAmgLXjgRfFPcxzkr3ivxYGwET_14Zc2UNZ1uY9/s772/Mortal%20Thoughts_Cynthia%20Kellogg%20sits%20outside%20the%20police%20station%20in%20her%20car%20after%20giving%20her%20statement%20to%20detectives%20about%20James%20Urbanski's%20death_Christmas%20lights%20are%20reflected%20on%20her%20windshield.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="772" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfU1DxYgwGSMZ_RnvC3IxB4fSuYXMeN8k0RGvHnsiCohpI4x4M8pl1VlgvtJu5TaOAUsoHN96bDUZRzvsUweLZGricXb6PJ5CAHch73r4TKavoRZymNJs90Geo1xSfwBRviwgeAN_Mt7OmNEL6YI-t1IAmgLXjgRfFPcxzkr3ivxYGwET_14Zc2UNZ1uY9/w400-h303/Mortal%20Thoughts_Cynthia%20Kellogg%20sits%20outside%20the%20police%20station%20in%20her%20car%20after%20giving%20her%20statement%20to%20detectives%20about%20James%20Urbanski's%20death_Christmas%20lights%20are%20reflected%20on%20her%20windshield.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Cynthia’s flashback about the attempted
rape is a very difficult scene to watch. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">It seems to go on forever because it puts you in
Cynthia’s position, with her trying to get away from Jimmy Urbanski and being
trapped, no matter how hard she fights him. If she hadn’t found the box cutter,
the scene would have ended very differently. Bruce Willis, who plays Jimmy
Urbanski and was Demi Moore’s husband at the time of the film’s shooting, gives
a very convincing performance of a man who doesn’t care much about anything and
treats his wife, her childhood friend, and everyone else poorly. He exudes
menace as easily as he exudes a devilish sense of humor in his action films and
on the 1980s television sitcom <i>Moonlighting</i>. He and Demi Moore pull off
the attempted rape scene so well that it’s easy to forget they are two famous
actors who just happened to be married to one another at the time.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEwb0ust-TPyJBmP_LQs3QvPkQyr2xw-NtyhwO3QShQTVpsuc4hdd3vxy58hcQ2UQEgo5oEjeXL2h0QIyHwkqzQAFUj4GfSpbHeh3lrciCDMuJr6ltHHYkCjcR1QXC0s9FkS-zA5rsWJFo42wHVNB2SxVsOnBqvmtMMvQ76ZeA2cm9TWOLrayo05hKi4Q/s778/Mortal%20Thoughts_James%20Urbanski%20on%20his%20wedding%20day.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="778" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEwb0ust-TPyJBmP_LQs3QvPkQyr2xw-NtyhwO3QShQTVpsuc4hdd3vxy58hcQ2UQEgo5oEjeXL2h0QIyHwkqzQAFUj4GfSpbHeh3lrciCDMuJr6ltHHYkCjcR1QXC0s9FkS-zA5rsWJFo42wHVNB2SxVsOnBqvmtMMvQ76ZeA2cm9TWOLrayo05hKi4Q/w400-h301/Mortal%20Thoughts_James%20Urbanski%20on%20his%20wedding%20day.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The desperation that the two women
feel, even after Jimmy’s throat is slashed and he is no longer a threat, feels
very real, too. The frank conversation between Cynthia and Joyce in the front seat
of the van underscores how getting Jimmy out of the way doesn’t change too much
for them. Joyce guesses—correctly—that Jimmy tried to force himself on Cynthia.
She knows that Cynthia had no choice but to defend herself, but she also knows
that the two of them are caught in a bind: </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“What if they don’t believe us, Cynthia? What if Jimmy
wakes up? You know he’ll kill us both, you know that! We gotta stick together
now. It is too late. We are just gonna have to take him somewhere and leave
him.” Cynthia realizes that Joyce is telling the truth about one thing: She and
Joyce are trapped no matter what they decide to do.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film’s title, <i>Mortal Thoughts</i>
is taken from a quote in act 1, scene 5 of William Shakespeare’s <i>The Tragedy
of Macbeth</i>, in which Lady Macbeth says: “Come, you spirits / That tend on
mortal thoughts, unsex me here, / And fill me from the crown to the toe
top-full / Of direst cruelty.” The film’s title may have solid literary roots,
but I don’t think it represents either of the two female leads, Cynthia Kellogg
and Joyce Urbanski, very precisely. Cynthia acted in self-defense; she is the
one who kills Jimmy to prevent him from raping her, but it wasn’t a planned act.
I was relieved that she had stopped Jimmy’s attack. It’s hard to have sympathy
for Jimmy, even though he ends up dead and tossed in a ditch, and I imagine
Joyce would feel some relief at being free of her tormenter, too.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I should
mention Harvey Keitel, who plays Detective John Woods. It’s a supporting role,
but Keitel is great in it. He is tough as nails, but he softens a bit when he
knows that Cynthia Kellogg’s resolve is crumbling. He has faith that she will
return to the police station on her own and reveal what really happened the
night of Feast of Saint Rocco. Detective Woods’s sympathy for Cynthia reminded
me a little of his character Detective Hal Slocumb in <i>Thelma & Louise</i>,
which was released in May 1991, just one month after <i>Mortal Thoughts</i>.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mortal
Thoughts</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is one
of those films that rewards multiple viewings because many of the actors’
performances are nuanced, and for most of the film, many of the characters—and
viewers, too—aren’t sure who to trust. The first time that I saw it, I remember
being surprised more than once by the plot, and that’s always a good sign.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wi5wAkeojMkH3QybHt9OCuKjMVV8X-SlE9AWuvqChU3htT1U40kGzL3wMzbh1UNqVJ7QSwh43OkXGIswzCYQCmXURkbwlw-yHVQGSO_B6ZU-r_52TbMIrILa2oMOtTIuZGgIj6vmQGzAwcWojkD561SLZICuEZpkSt9ewJn1UHUQ42VX_7XJqMjMuwQi/s779/Mortal%20Thoughts_Cynthia%20Kellogg%20and%20Joyce%20Urbanski%20stare%20into%20the%20van%20at%20James's%20bleeding%20body_Cynthia%20Kellogg's%20memory%20of%20the%20events%20before%20her%20second%20police%20interview.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="779" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wi5wAkeojMkH3QybHt9OCuKjMVV8X-SlE9AWuvqChU3htT1U40kGzL3wMzbh1UNqVJ7QSwh43OkXGIswzCYQCmXURkbwlw-yHVQGSO_B6ZU-r_52TbMIrILa2oMOtTIuZGgIj6vmQGzAwcWojkD561SLZICuEZpkSt9ewJn1UHUQ42VX_7XJqMjMuwQi/w400-h300/Mortal%20Thoughts_Cynthia%20Kellogg%20and%20Joyce%20Urbanski%20stare%20into%20the%20van%20at%20James's%20bleeding%20body_Cynthia%20Kellogg's%20memory%20of%20the%20events%20before%20her%20second%20police%20interview.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The home movies that rolled behind
the opening credits are repeated behind the closing credits in very slow
motion. Cynthia Kellogg and Joyce Urbanski started their lives and their
friendship in innocence, but their lives certainly didn’t end that way. I still
had a lot of sympathy for both of them. They were caught in desperate
circumstances, so desperate that their marriages and their friendship couldn’t
last under the strain. All of the actors give such good performances that you
can almost believe they all grew up together in Bayonne, in spite of their
false-sounding New Jersey accents!</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">April 19,
1991, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Alan Rudolph<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by William Reilly, Claude Kerven<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Mark Isham<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Tam Walls<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Elliot Davis</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Demi Moore as Cynthia Kellogg<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Glenne
Headly as Joyce Urbanski<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bruce Willis as James (aka Jimmy) Urbanski<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Harvey
Keitel as Detective John Woods<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>John Pankow as Arthur (aka Artie) Kellogg<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Billie
Neal as Detective Linda Nealon<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Frank Vincent as Dominic, Joyce’s father<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Doris
McCarthy as Jeanette, Joyce’s mother<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Karen Shallo as Gloria, James’s
mother<span style="mso-spacerun: yes;"> </span>•</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> <span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Doris
McCarthy, as Pat, Cynthia’s mother<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>John Descano as Cynthia’s
father<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Kelly Cinnante as Cookie</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Columbia Pictures<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by New Vision
Pictures, Polar Entertainment Corporation, Rufglen Films</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com2tag:blogger.com,1999:blog-9001384737868808902.post-13654209314267511532024-02-23T18:35:00.000-05:002024-02-23T18:35:48.797-05:00Behind Green Lights (1946)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The copy of <i>Behind
Green Lights</i> that I watched at the Internet Archive is less than sixty-two
minutes long, although that might not be completely accurate because the
Internet Archive’s print is a bit jumpy, especially at the start of the film.
It’s especially noticeable when Carol Landis’s character, Janet Bradley, holds
private investigator Walter Bard at gunpoint and then walks out with something
worth threatening him for; the jump in the film garbles whatever she accuses
him of having. But details are provided in subsequent conversations with other
characters. And even though viewers never really learn exactly who Janet
Bradley is hoping to protect by taking incriminating evidence from Walter Bard,
the film still has a very satisfying ending.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2QVOyUA5PH9FO5_SNZ0E7q3zfUd6vu8Ifzy1Kje0XCc6G_jzv1TqoeUmYfNyoFsX1nimgOJkF8HCh4DpyimHwYkJtOFtfssdcGtiZkSokrOUrhUXlJWA_C2_d5g-obIvqP1Kb1MtKimczGzQq0e-V89_IvTLsTJJwi5F-nKPsjzT6cT_ysqQqod6umsX/s634/Behind%20Green%20Lights_Lieutenant%20Sam%20Carson%20confronts%20Janet%20Bradley%20about%20the%20poison%20in%20Walter%20Bard's%20whiskey%20decanter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="634" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2QVOyUA5PH9FO5_SNZ0E7q3zfUd6vu8Ifzy1Kje0XCc6G_jzv1TqoeUmYfNyoFsX1nimgOJkF8HCh4DpyimHwYkJtOFtfssdcGtiZkSokrOUrhUXlJWA_C2_d5g-obIvqP1Kb1MtKimczGzQq0e-V89_IvTLsTJJwi5F-nKPsjzT6cT_ysqQqod6umsX/w400-h263/Behind%20Green%20Lights_Lieutenant%20Sam%20Carson%20confronts%20Janet%20Bradley%20about%20the%20poison%20in%20Walter%20Bard's%20whiskey%20decanter.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Behind
Green Lights</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is in the
public domain. Click <a href="https://archive.org/details/BehindGreenLights" target="_blank">here</a> to see the film online for free at the Internet
Archive.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The first ten or so
minutes set up multiple points, ideas, and threads of the narrative. As is true
of many films noir, it is important to pay attention to details because they
matter to the resolution of the plot and subplots. For such a short film, there
is plenty going on. Viewers get to see all the pieces of the story and how they
are related, even when the film’s characters don’t participate in all the
events. And even though <i>Behind Green Lights</i> can be called a film noir,
it does have some other elements, such as humor and romance. The noir elements
include corruption, betrayal, murder, sensationalism in newspaper reporting.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
narrative starts with a shot of a clock tower that looks like Big Ben in
London, but I do believe that the film takes place in New York City (more on
this later). The clock in the tower reads 10:30, and it is nighttime. This same
clock is used again and again to mark time in the progress of the story, which
takes place over the course of one night and mostly in a police station.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Johnny
Williams, a new reporter on the police beat and working for a paper called the <i>Herald</i>,
is being introduced to the police station by Ames, another reporter who works
in the press room at the police station for a different newspaper. Viewers see
some humor during Williams’s introductory tour, for example:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">A mother has brought in her
young son, who has a glass globe stuck on his head. A police officer pretends
to smash it with a hammer.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">A husband wants to report
his wife for stealing their car. A police officer explains that she can’t steal
something from her husband when it is considered community property. The
husband’s answer: He is a member of the community.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant Sam Carson is in the
middle of lecturing teenagers about going to bars before they are of legal age
when Ames arrives to introduce Johnny Williams to Carson and Detective Sergeant
Oppenheimer.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7OlwAkTPCuwOEEfxKvMUNvB5mzVKdZd7V08fpXd9I4yIp-T2vyvYOGqRj1gqXwA3cGbZOPnqqYDTqbXp5BXLmgleJxDIMDyCDDTHu-Dj24h27IetO9Phve9ns84CguzMM0hEL8kKaLXLwWRopfGzLA_ZVtfty29r8Qme_tqy0sMf3IrJuPH27-IYMe3G7/s636/Behind%20Green%20Lights_Detective%20Sergeant%20Oppenheimer%20tries%20to%20convince%20Lieutenant%20Sam%20Carson%20to%20ask%20Janet%20Bradley%20out%20to%20breakfast%20after%20Walter%20Bard's%20murder%20is%20solved_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="423" data-original-width="636" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7OlwAkTPCuwOEEfxKvMUNvB5mzVKdZd7V08fpXd9I4yIp-T2vyvYOGqRj1gqXwA3cGbZOPnqqYDTqbXp5BXLmgleJxDIMDyCDDTHu-Dj24h27IetO9Phve9ns84CguzMM0hEL8kKaLXLwWRopfGzLA_ZVtfty29r8Qme_tqy0sMf3IrJuPH27-IYMe3G7/w400-h266/Behind%20Green%20Lights_Detective%20Sergeant%20Oppenheimer%20tries%20to%20convince%20Lieutenant%20Sam%20Carson%20to%20ask%20Janet%20Bradley%20out%20to%20breakfast%20after%20Walter%20Bard's%20murder%20is%20solved_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film cuts to a driverless car
rolling slowly down the street and coming to rest in front of the police
station. The shot of the car approaching the camera in extreme close-up must
have been impressive on the large movie screens of the 1940s. Carson and
Oppenheimer find the car outside as they leave the police station. When Lieutenant
Carson opens the front driver’s side door, the body of Walter Bard falls out
onto the pavement. Both Carson and Oppenheimer recognize him, as do all the
reporters in the press room at the police station. They come out to have a look
and then return to the press room to report to their respective newspapers. Walter
Bard was shot in his own car. Detective Oppenheimer wonders aloud if it was
suicide; Lieutenant Carson thinks it was murder because the police at the front
desk of the station would have heard the shot if Bard killed himself up the
street.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6kb_PqTf5jg2nH7yrxWUKmCtt4G8nkcXKEAASSS8OhoOTN13IDK5GeRGnisVlLpgZb0NJJGEDpgylUvaqx3DuhGtuKU4SEvT-pUzffV1VGnGf65HZxk_BLl148JIKAck1xmfiVBI9Nr9IRx2B3F8yNrKWnspAdF978glxRxw49WW6be47_76bLs9SVJc/s637/Behind%20Green%20Lights_Police%20beat%20reporters%20stand%20over%20Walter%20Bard's%20body_Lieutenant%20Sam%20Carson%20is%20in%20the%20front%20seat%20of%20the%20car.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="423" data-original-width="637" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6kb_PqTf5jg2nH7yrxWUKmCtt4G8nkcXKEAASSS8OhoOTN13IDK5GeRGnisVlLpgZb0NJJGEDpgylUvaqx3DuhGtuKU4SEvT-pUzffV1VGnGf65HZxk_BLl148JIKAck1xmfiVBI9Nr9IRx2B3F8yNrKWnspAdF978glxRxw49WW6be47_76bLs9SVJc/w400-h265/Behind%20Green%20Lights_Police%20beat%20reporters%20stand%20over%20Walter%20Bard's%20body_Lieutenant%20Sam%20Carson%20is%20in%20the%20front%20seat%20of%20the%20car.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Later Carson finds Bard’s
appointment book among his effects, and in it, Bard recorded an appointment
with Janet Bradley just around the time of Bard’s death. She is the daughter of
Luther Bradley, the reform candidate for mayor. If she is involved in Bard’s death,
it would be a public scandal, and the election is only a week away. Many in
town would like to ruin Luther Bradley’s chances at political success and
reform, among them Dr. G. F. Yager, the medical examiner at the police station
and one of the corrupt elements on the police force. He goes to Max Calvert at
the <i>Express</i> newspaper about Janet Bradley’s possible involvement.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Max Calvert arrives at the police
station to talk to Carson. He reminds Carson that there is an election the
following week and that he would love to ruin Luther Bradley’s political chances.
He tries to bribe Carson with promotion to police chief, but only if Carson
would agree to book Janet Bradley and help smear the Bradley name, whether the
police have evidence to suspect her or not. Calvert also reminds Carson about
Captain Mike Shea, who died in the line of duty and never “cooperated,” as he
puts it. The implication is that he had some help dying in the line of duty.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Behind Green Lights</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is short, and even this brief description shows that the story has many
elements to it. But my interest in the film goes beyond the story itself. The
title and the film’s prologue prompted me to do some research, which probably
took a lot longer than it did to watch the film!</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I was intrigued by the title because
I had no idea what it meant. Why “green lights”? What did green lights have to
do with any of the subplots in the film? Perhaps audiences in 1946 would have
known more about it, but I had to do some investigating. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">According to a New York Police Department tweet quoted by
PIX11, “The green lights that hang outside the entrances of police precincts
are a symbol that the ‘watch’ is present and vigilant.” (For more information
about the green lights outside police departments in New York City, click <a href="https://pix11.com/news/local-news/what-are-the-green-lanterns-outside-nypd-precincts/" target="_blank">here</a>.)
The information in the article at PIX11 suggests to me that the film takes
place in New York City, despite what the film’s opening prologue says about the
story taking place in just about any city and despite the clock tower
resembling Big Ben.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaOwnrt8TfH85r9eT6ngdg4rjVGEF7eCviT05ZKX8ib5WgYIz2jMWzRyWOfagIgkpikHs6kW6C82h04-kE2Zs61Jye9aqCzON68K9Ohyphenhyphen8MSj5XJdxRfRVNrlE50T-aANDhuoyErWrp7FYEs8Un6ST3DXmxST7xHrPtAxpbtfql-CYdNVQWPKTnY9hW2kI/s634/Behind%20Green%20Lights_Driverless%20car%20comes%20to%20a%20stop%20in%20front%20of%20the%20police%20station.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="421" data-original-width="634" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaOwnrt8TfH85r9eT6ngdg4rjVGEF7eCviT05ZKX8ib5WgYIz2jMWzRyWOfagIgkpikHs6kW6C82h04-kE2Zs61Jye9aqCzON68K9Ohyphenhyphen8MSj5XJdxRfRVNrlE50T-aANDhuoyErWrp7FYEs8Un6ST3DXmxST7xHrPtAxpbtfql-CYdNVQWPKTnY9hW2kI/w400-h265/Behind%20Green%20Lights_Driverless%20car%20comes%20to%20a%20stop%20in%20front%20of%20the%20police%20station.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="color: blue;"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The written prologue
appears after the film’s opening credits, and it reads as follows: “This is the
story of one night in a big city police station—your city or mine—where
anything can happen, and very often does—where all kinds of people in every
kind of trouble rub shoulders while John Law sorts them out.” I was pretty sure
that the term <i>John Law</i> referred to police officers, but I decided to
research this, too. The online <a href="https://www.urbandictionary.com/define.php?term=John%20Law" target="_blank">Urban Dictionary</a> defines <i>John Law</i> as “[a]
police officer who does not abuse their power, and honorably upholds the motto
‘To Serve and Protect.’ An officer who remembers what it’s like to be a kid and
carries insight for all people.” It also quotes a song called “John Law” by the
Dropkick Murphys that was released in 2000. (You can find the lyrics at
<a href="https://www.lyrics.com/lyric/3600909/Dropkick+Murphys/John+Law">Lyrics.com</a>.) So even though I hadn’t heard the term <i>John Law</i> myself, it
seems it’s not out of date quite yet.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I wanted to see <i>Behind
Green Lights</i> for some time, but I had no idea it would inspire so many
questions for me. I enjoy this aspect of film noir. In addition to finding
these films very entertaining, I like learning more about the historical
context and especially the use of language. Viewers get both entertainment and
a history lesson in <i>Behind Green Lights</i>, which certainly isn’t one of
the more well-known films from the 1940s.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">February
15, 1946, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Otto Brower<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by W. Scott Darling, Charles G. Booth<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Music by Emil Newman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Stanley Rabjohn<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Joseph MacDonald</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Carole Landis as Janet Bradley<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>William
Gargan as Lieutenant Sam Carson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Don Beddoe as Dr. G. F. Yager<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Richard
Crane as Johnny Williams, reporter<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Mary Anderson as Nora Bard<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>John
Ireland as Detective Sergeant Oppenheimer<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Charles Russell as Arthur
Templeton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Roy Roberts as Max Calvert<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mabel
Paige as Flossie<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Stanley Prager as Ruzinsky, milkman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Charles
Tannen as Ames, reporter<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bernard Nedell as Walter Bard<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Charles
Arnt as Daniel Boone Wintergreen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Fred Sherman as Zachary, the Philadelphia
Phantom</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Twentieth Century-Fox<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by Twentieth
Century-Fox</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-90130086123181826622024-02-08T17:56:00.000-05:002024-02-08T17:56:32.682-05:00The Naked City (1948)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I have seen <i>The
Naked City</i> more than once, and I am glad I did because I enjoyed it
immensely, and I now have a new appreciation for it. How did I miss the little
bits of humor interspersed here and there in an otherwise grim story? Was I so
engrossed in the narrative (maybe not such a bad thing) that I forgot to notice
the spectacular location shots? Sometimes a film has to be given a second
chance; it has to be seen two or even three times to appreciate all the details.
<i>The Naked City</i> is a good example.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKIIr8ujue1L-tBpHxq1I86LUy9nfsnjYJ6fqPK3qgVZK0uPLFoG8ZGISsjBxP5V4gFSJr7EAN8G8IZR14JPAd7Hb6_lzPBbTyZ8-3JlO2GQyH6MalEdGT04yZfEf3kuT7RuxytEjyMZCivcBVylitmV9IUx_ReaWBs3s-ko6qcO7d4_Njss1nVf6HeXY/s722/The%20Naked%20City_Lieutenant%20Dan%20Muldoon%20interviews%20Jean%20Dexter's%20parents,%20Mr.%20and%20Mrs.%20Batory,%20while%20Detective%20Jimmy%20Halloran%20listens.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="722" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKIIr8ujue1L-tBpHxq1I86LUy9nfsnjYJ6fqPK3qgVZK0uPLFoG8ZGISsjBxP5V4gFSJr7EAN8G8IZR14JPAd7Hb6_lzPBbTyZ8-3JlO2GQyH6MalEdGT04yZfEf3kuT7RuxytEjyMZCivcBVylitmV9IUx_ReaWBs3s-ko6qcO7d4_Njss1nVf6HeXY/w400-h304/The%20Naked%20City_Lieutenant%20Dan%20Muldoon%20interviews%20Jean%20Dexter's%20parents,%20Mr.%20and%20Mrs.%20Batory,%20while%20Detective%20Jimmy%20Halloran%20listens.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I shouldn’t be too
hard on myself about missing anything because the story in <i>The Naked City</i>
moves quickly. A young model has been murdered in her apartment, and her story
is intertwined with several others, making for a complicated narrative with
many threads. The city is the backdrop for the murder investigation, the main
detectives’ investigation and personal lives, the suspects and friends who are
interviewed—even one of the murderers himself, who is not a cardboard villain. Throughout
it all, the narrative keeps viewers aligned most closely with the police
detectives as they conduct their investigation.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
screenwriter, Malvin Wald, based his script on his research at the New City
Police Department (NYPD). Many of the narrative’s details are taken from actual
cases. Wald provides audio commentary for the film, and part of his discussion
is devoted to what he gleaned from his research and applied to the script. It
gives the film a semidocumentary style that is reinforced by a voice-over
narrator, who is producer Mark Hellinger.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlQuX1OdJkWmgqK1u931YfcVgFhk3dkfEgtIl4xZOe9vsiGADd1oz5GckgM216HqaTwl0hU0PyssBxf2fowfprGCEYu3ywclFn5xomoabgV1ZD9hceb1YpvvIQDBiraW4oC1InLVMcis7uMn_yXHBoEq7oI4JDk_jbHwVv5UO-_K_WLFbYHNW6HOLaJMb/s635/The%20Naked%20City_Detective%20Jimmy%20Halloran%20says%20goodbye%20to%20his%20wife%20and%20son%20before%20heading%20off%20to%20work.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="635" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlQuX1OdJkWmgqK1u931YfcVgFhk3dkfEgtIl4xZOe9vsiGADd1oz5GckgM216HqaTwl0hU0PyssBxf2fowfprGCEYu3ywclFn5xomoabgV1ZD9hceb1YpvvIQDBiraW4oC1InLVMcis7uMn_yXHBoEq7oI4JDk_jbHwVv5UO-_K_WLFbYHNW6HOLaJMb/w400-h269/The%20Naked%20City_Detective%20Jimmy%20Halloran%20says%20goodbye%20to%20his%20wife%20and%20son%20before%20heading%20off%20to%20work.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Hellinger
introduces the film, the on-location shooting, the city as is. He tells viewers
during the opening sequence that it’s a hot summer night when the murder of a
female model, Jean Dexter, takes place. Her murder is only one shot in the opening
sequence. Some places in the city are empty; others are just filling up. Some people,
for example, newspaper reporters, cleaning people, and disc jockeys, are
working their night shifts. When day breaks, people go about their many morning
routines. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Lieutenant Dan Muldoon</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> and </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective
Jimmy Halloran are included in this group starting their respective days, and viewers
learn their identities later. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">One of Dexter’s
killers regrets the murder and gets drunk to drown his sorrows. The second
killer, afraid that his partner cannot be trusted, smashes his head and throws
him into the East River.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEZXB4N28yjPtvAY8dlBuC0VXUQ6Uh2oTehfD03a2Kh6ShkIqteOOJ_pySq1bKUMpsNFpdA7vIKgpI_iUqdpXhgEj3xD24mw6u9K1pcjg8DEljNLftxSrQAzaZ9lZFkV1u_OKxM-6QK2QfeaXxqITU4dtsAPuiNr8zXihyP9hNdQko5vZAopwGs_MvnNQu/s583/The%20Naked%20City_The%20killer%20Willie%20Garzah%20killing%20the%20second%20killer%20Peter%20Backalis.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="583" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEZXB4N28yjPtvAY8dlBuC0VXUQ6Uh2oTehfD03a2Kh6ShkIqteOOJ_pySq1bKUMpsNFpdA7vIKgpI_iUqdpXhgEj3xD24mw6u9K1pcjg8DEljNLftxSrQAzaZ9lZFkV1u_OKxM-6QK2QfeaXxqITU4dtsAPuiNr8zXihyP9hNdQko5vZAopwGs_MvnNQu/w400-h304/The%20Naked%20City_The%20killer%20Willie%20Garzah%20killing%20the%20second%20killer%20Peter%20Backalis.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
housekeeper, Martha Swenson, finds Jean Dexter’s body. The crime is reported to
the Tenth Precinct in the Chelsea district of New York City. The Homicide
Department is on the third floor. (All of this is also based on fact.) </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detectives Muldoon and Halloran are assigned to the case, and so the
investigation begins. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jean
Dexter’s apartment is combed for clues, and the detectives find plenty: An
expensive pair of men’s pajamas in the laundry hamper, a black-star sapphire
ring, a bottle of prescription sleeping pills under the bed, missing jewelry.
The housekeeper tells detectives during her interview with them that the ring
was a gift from Dexter’s brother (the detectives learn from Dexter’s parents
that they never had any other children). It isn’t long before the detectives
begin learning all they can about Dexter and her life in the city.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This
article about <i>The Naked City</i> contains spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Doctor
Lawrence Stoneman prescribed the sleeping pills found in Dexter’s bedroom, and </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Halloran questions him about how well he knew his patient. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank Niles is another male visitor of Jane
Dexter’s; both he and Stoneman complicate the investigation by withholding
vital information. But the police are not stymied. They head to Dexter’s place
of employment: a dress shop where she modeled. She was fired from this modeling
job because married men were always expressing interest in her. Their wives
didn’t like it and neither did her employer, a woman interviewed by Detective
Halloran. He also meets Ruth Morrison, another model who worked with Dexter at
the dress shop. When Halloran learns that they were friends, he brings her to
the police station for the beginning of the unraveling of Frank Niles’s lies.
Morrison thinks that she and Niles are engaged to be married, but Niles had
earlier told Detective Muldoon that he didn’t know Ruth Morrison.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Niles is eventually released by the
police, but he is tailed by detectives in the hopes of learning more about his
connections to Dexter. He</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> pawns a
stolen cigarette case, which provides the detectives with the first of a series
of clues about Dexter, Niles, and a ring of jewelry thieves. The black-star
sapphire ring and Ruth Morrison’s engagement ring, it turns out, are also
stolen property.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Muldoon, Detective
Halloran,</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> and Ruth
Morrison go to Frank Niles’s apartment to question him about his being in
possession of stolen goods. They find him hurt and unconscious on his living
room floor, with the assailant escaping on the fire escape. Halloran runs after
the assailant but loses him on the elevated subway. Detective Muldoon revives
Niles, who claims that the jewelry, including Morrison’s engagement ring, were
presents from Jean Dexter. He protests his innocence, but he is arrested for
Dexter’s murder anyway.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">This
scene is an example of the subtle humor I missed on first viewing. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Muldoon tries to revive Niles by slapping his cheeks. He
suggests to Ruth Morrison that she prepare some cold tea to help Niles’s
recovery. Muldoon makes sure that Morrison is in the kitchen and that she isn’t
looking before he gives Niles one hard slap, which finally gets Niles moaning.
When Morrison returns to the living room, she is frantic about Niles and
stroking his face. Muldoon points out that the cold tea would work better.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFOgH2tqlzVIrck4xW1HIuW_8UXXIXX4UQu0u5WWpjSddkgrE5KSPDDxG2PvgZCgqPPuapv_OikuLWf8wHCuFD2NAYkJdkbiDgZpqqvDhpCKevdiXGfzYr8gPdhV313vh1N_u-pO8IHce6GOO37yeJR-kbWgcVV7b6tWUA6ezsK1r8HgAc99-uSRY2GLF/s719/The%20Naked%20City_Frank%20Niles%20regains%20consciousness%20while%20Detective%20Dan%20Muldoon%20and%20Ruth%20Morrison%20look%20on.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="719" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFOgH2tqlzVIrck4xW1HIuW_8UXXIXX4UQu0u5WWpjSddkgrE5KSPDDxG2PvgZCgqPPuapv_OikuLWf8wHCuFD2NAYkJdkbiDgZpqqvDhpCKevdiXGfzYr8gPdhV313vh1N_u-pO8IHce6GOO37yeJR-kbWgcVV7b6tWUA6ezsK1r8HgAc99-uSRY2GLF/w400-h305/The%20Naked%20City_Frank%20Niles%20regains%20consciousness%20while%20Detective%20Dan%20Muldoon%20and%20Ruth%20Morrison%20look%20on.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In his audio commentary, Marvin Wald
also talks about the humor in the film. He says that the choice of Barry
Fitzgerald in the role of Detective Muldoon</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> gives the film depth, character, and humor. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Barry Fitzgerald’s reaction in many scenes, but especially with Mrs.
Hylton and with the woman who shows up at the police station because she wants
to help the murder investigation, are the work of a master actor. Another
example of the humor in the film occurs toward the end, when Detective Jimmy
Halloran goes to a luncheonette in the East Side to try to find Willie Garzah.
The woman running the luncheonette provides some humor when she recognizes the
photo of Garzah but then worries about getting someone else in trouble. She asks
Detective Halloran if he is a debt collector.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Wald discusses his research in his audio
commentary. He based many of the incidents in the film on several different
cases from NYPD files.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> The following list
includes just a few bits of information that Wald offered: </span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Through his research in 1946, Wald learned that many
murder investigations remain unsolved. He was given access to police files for
solved and unsolved cases by NYPD Inspector Joseph Donovan, who was the basis
for the character of </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Lieutenant Dan Muldoon.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">One of the cases that Wald researched was the murder of a
famous model Dorothy (Dot) King, which was never solved. In the police case
files was a tip about a high-society admirer from Philadelphia. Wald felt that
influence prevailed to stop the investigation. But <i style="mso-bidi-font-style: normal;">The Naked City</i> shows the results of Wald’s research.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Detective work is mostly drudgery. It is not glamorous,
as it was shown previously in films. Police officers are hard-working civil
servants.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBSHlKlmgcVjOXftEwci5qKkCWYb47gqv1AXVbKiullzW9msYkqtNYgpJzhw3vKp2COkry0DV6yKW3NJ_dNY5inuWp98w-jVXYqlvG8nCJ7lBvkUcnNwsYXeBEcTiwnRYzgvJS9ifF9biRKou-zybeL1yU3cBuAWjpudtIW65eIIzUufy9NOSqtFRh9x4R/s724/The%20Naked%20City_Detective%20Jimmy%20Halloran%20outside%20Dr.%20Lawrence%20Stoneman's%20office%20building%20in%20New%20York%20City.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="724" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBSHlKlmgcVjOXftEwci5qKkCWYb47gqv1AXVbKiullzW9msYkqtNYgpJzhw3vKp2COkry0DV6yKW3NJ_dNY5inuWp98w-jVXYqlvG8nCJ7lBvkUcnNwsYXeBEcTiwnRYzgvJS9ifF9biRKou-zybeL1yU3cBuAWjpudtIW65eIIzUufy9NOSqtFRh9x4R/w400-h305/The%20Naked%20City_Detective%20Jimmy%20Halloran%20outside%20Dr.%20Lawrence%20Stoneman's%20office%20building%20in%20New%20York%20City.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Wald also learned from his research that newspaper
headline cases always attract nuts and fruitcakes, as he says, who think that
they know who the murderer is. In the film, for instance, a woman shows up at
the homicide bureau to tell Detective Muldoon that she can help him find the
murderer. Headline cases also attract people who want to confess and take
credit, so to speak. Later in the film, the police capture a man who breaks
into Dexter’s apartment and states that he stabbed her to death. The police know
he is not the killer because Dexter was chloroformed and drowned in her
bathtub. The introduction of these characters adds some humor to the story.<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Police told Wald that the suspect (in the film, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Willie Garzah) </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">probably wouldn’t
leave the city because he could hide in a crowd. If he left for a small town,
he would be a stranger, and the police would take notice.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Doctor Lawrence Stoneman (Dexter’s physician and lover)
would have parties, and his guest’s homes would be burglarized while they were
his guests. This was also based on a real story: Wald knew a Hollywood producer
whose servants pulled the same scam as Jean Dexter and her fiancé Frank Niles.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Class differences between the wealthy and the working
detectives are mentioned from time to time throughout the film. For example, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective Muldoon</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> comments on the fact
that Frank Niles spent fifty dollars in one evening. Fifty dollars was a
working man’s wages and a family could live on that much. These references to
the police as working people worried producers at Universal because they felt
that such references were too political.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Naked City</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> was revolutionary for its time: Although used before,
now the documentary technique was applied to a whole city, and until now,
murder mysteries were solved by private individuals, not by the police. In <i>The
Naked City</i>, the police are shown as competent.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The final
sequence, with Willie Garzah on the run and pursued by police officers and
detectives, is spectacular. Garzah heads toward the Williamsburg Bridge, and
his ascent on the metal staircases is tense. Viewers see what Garzah sees:
Tennis players on courts far below, the city skyline from different levels on
the bridge, the police staring up at him with their guns drawn. Each shot is
meant to add to the tension and excitement of the chase.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWCeRVqULihmxnsCuI1U4Y76y6_RW9ZS2gv3oTZB7ex-d2042eKFBPZ_nKE4pRTR_-jwHOrkZiuMAcM400s5rGW9bnioc7FrbToL0bVifPxHhkxuKoMHbtd-Ww3TzCioVUHrBtC9AMBmqENOtQLrVGypMBTkn2a5dBu0xi4CW4OOm6gJj_2HWsrNy4M8-/s722/The%20Naked%20City_Willie%20Garzah%20reaches%20the%20top%20of%20the%20metal%20stairs%20at%20the%20top%20of%20the%20Williamsburg%20Bridge_II.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="722" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWCeRVqULihmxnsCuI1U4Y76y6_RW9ZS2gv3oTZB7ex-d2042eKFBPZ_nKE4pRTR_-jwHOrkZiuMAcM400s5rGW9bnioc7FrbToL0bVifPxHhkxuKoMHbtd-Ww3TzCioVUHrBtC9AMBmqENOtQLrVGypMBTkn2a5dBu0xi4CW4OOm6gJj_2HWsrNy4M8-/w400-h303/The%20Naked%20City_Willie%20Garzah%20reaches%20the%20top%20of%20the%20metal%20stairs%20at%20the%20top%20of%20the%20Williamsburg%20Bridge_II.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I did
find myself wondering why Garzah didn’t dive into the East River to get away
from the police. He is described previously in the film by various witnesses as
an acrobat, a wrestler, a boxer. When </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Detective
Halloran finds Garzah in his apartment, Garzah is exercising, and he tells
Halloran that he exercises regularly, doesn’t drink, and doesn’t smoke. Maybe
the production code at the time wouldn’t have allowed Garzah to escape:
Criminals were not allowed to get away without punishment after all. (But the
police could have caught him in the river, right?)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
voice-over narrator is intrusive by today’s standards. But in the case of <i>The
Naked City</i>, he definitely adds to the semidocumentary style. He also
delivers what would become the most famous line from the film: “There are 8
million stories in the naked city. This has been one of them.”</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> The late 1950s/1960s television series <i>Naked City</i>
was based on the film, and each episode ends with this famous line.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuxa8lLjbr1_tWLF2KHcCOb_fkPw2vogvCSGMT33paVZfY5XKobsLwMWZEzXpxBlT3SIZxCekLNfxCBCyD_sFFlBIpUEo2KDG9-16VWfplZl5LD05hTL7OO6HwXDECxpZ7B15li3XMroWKF-Pl2yFl_yNfLoNk4wvoFYZKe1xEbSYzHMcPIn1xefpqwvkJ/s720/The%20Naked%20City_The%20view%20outside%20Lieutenant%20Dan%20Muldoon's%20office.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="720" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuxa8lLjbr1_tWLF2KHcCOb_fkPw2vogvCSGMT33paVZfY5XKobsLwMWZEzXpxBlT3SIZxCekLNfxCBCyD_sFFlBIpUEo2KDG9-16VWfplZl5LD05hTL7OO6HwXDECxpZ7B15li3XMroWKF-Pl2yFl_yNfLoNk4wvoFYZKe1xEbSYzHMcPIn1xefpqwvkJ/w400-h304/The%20Naked%20City_The%20view%20outside%20Lieutenant%20Dan%20Muldoon's%20office.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">New York City is shot
in all its postwar midcentury splendor in <i>The Naked City</i>. Each part of
the city seems like its own little neighborhood, with pedestrians bustling in
every direction. Cars hadn’t taken over the city’s streets and the American way
of life just yet, b</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">ut things
changed pretty quickly after the film’s release. There is even a sequence in
which Mrs. Halloran tells her husband when he comes home that their young son
crossed a busy road by himself earlier in the day. She worries that he could be
killed if he doesn’t obey her instructions about crossing busy streets by
himself. The city may be a collection of tight-knit neighborhoods and watched
over by dedicated civil servants, but there’s still danger for everyone living
there.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">March 4,
1948, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Jules Dassin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by Albert Maltz, Malvin Wald<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on a story by Malvin Wald<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by Mikl</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">ó</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">s R</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">ó</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">zsa, Frank Skinner<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Edited by Paul Weatherwax<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography
by William H. Daniels</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Barry Fitzgerald as Detective
Lieutenant Dan Muldoon<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Howard Duff as Frank Niles<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dorothy
Hart as Ruth Morrison<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Don Taylor as Detective Jimmy Halloran<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Frank
Conroy as Captain Donahue<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ted de Corsia as Willie Garzah<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>House
Jameson as Dr. Lawrence Stoneman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Anne Sargent as Mrs. Halloran<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Adelaide
Klein as Paula Batory<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Grover Burgess as Mr. Batory<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Tom
Pedi as Detective Perelli<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>John McQuade as Detective Dace
Constantino<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Enid Markey as Mrs. Hylton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Walter
Burke as Pete Backalis<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Virginia Mullen as Martha Swenson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Arthur
O’Connell as Sergeant Shaeffer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joe Kerr as Ned Harvey<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mark
Hellinger as the narrator</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Universal-International Pictures<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced
by Mark Hellinger Productions</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-4812179651714276162024-01-24T17:53:00.001-05:002024-01-26T12:15:44.411-05:00My Essay about Vagabond (1985) Is Published in The Agnès Varda Files<p><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Lê, from
Cine Suffragette and writer at the blog <a href="https://criticaretro.blogspot.com/" target="_blank">Crítica Retrô</a>, invited me several
months ago to contribute to an ebook collection called <i>The</i></span></b><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> Agnès Varda
Files</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">.
The collection has recently been published, in both English and Portuguese, and
you can find both versions at Amazon. My contribution to the ebook is the
following essay entitled “</span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Sans toit ni loi</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-style: italic;"> / </span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Vagabond</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"> (1985): A Masterpiece from </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Agnès
Varda.”</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Vagabond</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is not a neo-noir, not a noir at
all, but I do want to spread the word about both the film and the ebook
collection. A lot of hard work went into the ebook from everyone who
participated, especially from the folks at Cine Suffragette. Thanks to them and
to </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Lê.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">This post is also my own tribute to Agnès Varda,
whom we lost not so very long ago, on March 29, 2019. I have now seen a few of
Varda’s films, including </span><i><span lang="FR" style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Cléo de 5 à 7</span></i><span lang="FR" style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> /<i> Cléo from 5 to 7</i></span><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> (1962) and </span><i><span lang="FR" style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Visages Villages</span></i><span lang="FR" style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> / <i>Faces Places </i>(2017)</span><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">, and all of them are
extraordinary.</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-style: italic;">“</span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Sans
toit ni loi</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-style: italic;"> / </span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Vagabond</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> (1985):
A Masterpiece from </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Agnès
Varda”</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Agnès
Varda’s film <i>Vagabond</i> is stunning, a masterpiece that reveals so much so
very simply. It’s almost as if Varda set up a camera and let events unfold in
front of the lens, almost as if we are watching a documentary about real-life
events. But that’s the finished product, the result of Varda’s work and
imagination. She wrote, directed, and edited a story about a fictional young
woman, Mona Bergeron, that is finely crafted and draws us in because we don’t
know what will happen next, even though we know the main character’s ultimate
fate.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Vagabond</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> starts with a shot of a French vineyard in winter. A
tractor plods slowly from the distant background toward the camera at the same
time that the camera moves in . . . on what? It’s hard to see until the camera
is almost upon him: a field hand. The camera’s movement, although simple and
steady, creates a sense of foreboding. When the film cuts closer to the field
hand, he discovers Mona Bergeron’s frozen and lifeless body in a ditch. Thus,
viewers know the ending of the story nearly from the very beginning.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film
cuts to a scene where the camera pans a beach in the early morning sun, and the
voice-over narrator, Agnès Varda herself, tells viewers, “No one claimed the
body, so it went from a ditch to potter’s field . . . But people she had met
recently remembered her. Those witnesses helped me tell about the last weeks of
her last winter. She left her mark on them. They spoke of her, not knowing she
had died. I didn’t tell them. Nor that her name was Mona Bergeron. I know
little of her myself, but it seems to me she came from the sea.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">By now,
the camera shows Mona walking out of the ocean and onto the beach. She is
naked, innocent of her role in a film and innocent of the fact that two men
watch her from a distance on a road. The camera actually takes the perspective
of a spectator, the same as the two men on the road. But the introduction that
Varda gives Mona is almost mythical. I thought immediately of the Italian
Renaissance painting <i>The Birth of Venus</i>, by Sandro Botticelli.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The rest
of the film tells us of the last few weeks of Mona’s life in a series of flashbacks,
in a semidocumentary style that includes interviews with people who knew her in
her last winter. Many of the people that Mona met in her last weeks talk
directly to the camera about her. Not all of their testimony is positive, but
it is still clear that Varda herself holds Mona in high esteem. What other
people say of Mona often reveals more about themselves than it does about the
main character, the subject of the film.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The two
men on the beach are Paulo and his friend. They think Mona must be crazy to go
into ice-cold ocean water. Paulo wants to talk to her, but his friend has to
get to work, and it’s his motorbike that they are riding. They drive off, and
the camera returns to Mona, now dressed and hitchhiking. Later Paulo tells his
friend, “A girl all alone is easy!” We are beginning to see Mona as the world
of the film sees her, and others don’t always see her as Varda does. Or as I
did: I was already worrying about her at this point, and maybe that was Varda’s
intention. (My concerns were justified: Mona is raped at one point later in the
narrative by another man who finds her camping alone in the woods.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mona
spends some time with a goatherd and his family. The goatherd seems to be
living the most unconventional life of everyone else in the film—except for
Mona, that is. He can identify with her because he once lived the vagabond life
she is living, but he comes across as one of the most bourgeois characters in
the film. He is also one of the most judgmental. He tells Mona that she is
chasing freedom, but she is destroying herself. He could not stay on the road
because of the loneliness. His friends who did stay on the road are either dead
or alcoholics or junkies. When he talks to the camera about Mona, he says, “By
proving she’s useless, she helps a system she rejects.” I’m not sure what to
make of this comment except that it paints the goatherd in the worst possible
light. He assumes a lot about what is useful and what the system or society
ought to be. And he also assumes that Mona’s experiences and her reactions to
them are the same as his.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Assoun, a vineyard
worker (not the field hand who found her body at the start of the film) cares
about Mona and wants to take care of her. When Mona meets Assoun, he is pruning
grapevines in preparation for the upcoming season. He offers her a place to
stay and food to eat. But when other workers return for the seasonal work, they
force him to take a stand: He cannot allow Mona to stay in the same lodgings
where they all live. Assoun doesn’t want to let Mona go, but he needs his job,
and Mona is an intruder, a female one at that. Assoun’s coworkers are even more
adamant that Mona should leave because she is a woman. Assoun’s memories of
Mona are mixed with fondness and regret. After her departure, when he is in
front of the camera again, he kisses the bright red scarf that Mona used to
wear and had left behind when she was forced to leave. Then he stares bleakly
into the camera without uttering a word. His actions speak for themselves.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Mrs. Landier, a
university professor and researcher, starts asking Mona questions after giving
her a ride. Then she asks Mona if her questions bother her. Mona tells her that
drivers always have questions and that she tells them whatever she feels like
telling them. Mona doesn’t seem to be interested one way or the other about
what she says, what she reveals, or whether any of it is even accurate.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Paulo and his friend,
the goatherd, and Mrs. Landier are just a few examples. Almost everyone who
meets Mona Bergeron offers an opinion, but not Assoun and not the enigmatic
Mona herself. She cares the least about what people think. Varda, in the role
of filmmaker, solicits these interviews from other characters, but Mona does
not stick around long enough or often enough to hear other people’s opinions.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I had
just seen <i>Vagabond</i> for the first time when I received the invitation to
contribute to this collection, </span></b><span class="yiv9063707412s1"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Agnès Varda Files</span></i></b></span><span class="yiv9063707412s1"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">,</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> honoring Varda. I have seen only three of
Varda’s films, but each one so far has been a powerful experience, and <i>Vagabond</i>
is no exception. It’s a difficult film to watch in some ways, but Varda gets us
to care about Mona, a precious life that a capitalistic and patriarchal society
doesn’t seem to know what to do with. Maybe the distance that a film affords
viewers is one of the best ways to get us to care. In spite of our distance as
film viewers, we still think to ourselves, “What would my reactions be if I had
met Mona myself?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Viewers know almost from
the start that Mona Bergeron is found frozen in a vineyard. In spite of this
knowledge, I became thoroughly absorbed in the events leading up to her death.
In spite of knowing Mona’s ultimate fate, I watched because I wanted to know
what would result from each of Mona’s interactions, from each of her decisions.
The result of each piece of Mona’s story is unpredictable, which I found
fascinating. It’s as though Varda has created a slice-of-life story that mimics
life: We all know the ultimate ending, but we go along for the ride and are
fascinated nonetheless.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">September
1985 (Venice Film Festival), December 4, 1985, release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Agnès Varda<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Agnès Varda<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by Joanne Bruzdowicz, Fred Chichin<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Edited by Patricia Mazuy, Agnès
Varda<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Cinematography by Patrick Blossier</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sandrine Bonnaire as Mona Bergeron<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Macha
Méril as Madame Landier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Yolande Moreau as Yolande<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Stéphane
Freiss as Jean-Pierre<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Setti Ramdane as Assoun<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Francis
Balchère as a police officer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jean-Louis Perletti as a police officer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Urbain
Causse as a farmer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Christophe Alcazar as a farmer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joël
Fosse as Paulo<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Patrick Schmit as the truck driver<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Daniel
Bos as a demolition worker<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Katy Champaud as the girl at the pump<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Raymond
Roulle as the old man with matches<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Henri Fridlani as the
gravedigger<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Patrick Sokol as the boy with the sandwich<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Pierre
Imbert as the mechanic</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by MK2 Diffusion<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by ciné-tamaris, films
a 2</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com2tag:blogger.com,1999:blog-9001384737868808902.post-10654763634584263052024-01-09T13:48:00.002-05:002024-01-09T19:23:42.104-05:00Serangoon Road (Television Series) (2013)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Several months ago,
Brian of <a href="https://www.filmsfrombeyond.com/" target="_blank">Films from Beyond the Time Barrier</a> asked me to join the Movie Blogger Challenge.
His request was that I write about “favorite noirs set somewhere other than the
United States; or favorite moments from classic noir.” Here, I make good on the
challenge (and welcome the New Year a little late with my first post) by choosing
to write about one “(neo-)noir set somewhere other than the United States,” but
it was still a hard choice. I chose <i>Serangoon Road</i> because I enjoyed it
so much and, to be honest, because I hadn’t written about it yet. And in its
own way, it fits the request perfectly (kinda, sorta): It is a neo-noir because
it was broadcast in 2013 in Australia, but it covers a period immediately
following World War II. With <i>Serangoon Road</i>, I get to have it both ways:
a neo-noir set in the film noir postwar period.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5_sZnzyv964CIrOI5qKLMTykX5UAzwlSpSx2Q5FsWjLWQ-XeOgMIfQYXTveJ96IHWjtfTdiiCQ0H-Z4EEaerWgPIzwgTx7IBcq61DCLFEPPsDXw4lzGMHtDfJ3JaL78PRgiKEWh2GMXUzCsyk6k9Jo05-QCjq58Zbfy7yWr-gMfMND1CrG01NdeM58ja/s1027/Serangoon%20Road_Episode%202_Close-up%20of%20Sam%20Callaghan%20in%20the%20Cheng%20Detective%20Agency%20offices.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1027" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5_sZnzyv964CIrOI5qKLMTykX5UAzwlSpSx2Q5FsWjLWQ-XeOgMIfQYXTveJ96IHWjtfTdiiCQ0H-Z4EEaerWgPIzwgTx7IBcq61DCLFEPPsDXw4lzGMHtDfJ3JaL78PRgiKEWh2GMXUzCsyk6k9Jo05-QCjq58Zbfy7yWr-gMfMND1CrG01NdeM58ja/w400-h228/Serangoon%20Road_Episode%202_Close-up%20of%20Sam%20Callaghan%20in%20the%20Cheng%20Detective%20Agency%20offices.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">I have been on a roll
lately finding good television series to watch, and <i>Serangoon Road</i> is
one of my finds. I watched all ten episodes in three days, which is a lot of
television for someone like me, who had two work deadlines to meet at the same
time. The cover of the DVD set that I watched describes <i>Serangoon Road</i>
thusly: “Worlds collide in this noir detective drama set in 1960s Singapore.” That
short blurb met my expectations. And, if I am absolutely truthful, I was
already looking forward to seeing Don Hany, the actor who plays the lead, Sam
Callaghan. I had seen him in another television series, and I was certain that
he wouldn’t disappoint (he didn’t).</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The overarching story
line for all ten episodes involves Winston Cheng’s murder and his wife’s desire
for closure. Patricia Cheng took over her husband’s business, the Cheng
Detective Agency, when he died. She wants to know if her husband was murdered
or he was the victim of a robbery gone bad, as the official police story says.
She enlists the help of Sam Callaghan, an Australian who often worked on
investigative cases with Winston. Each episode also includes a criminal
investigation that is completed within the time frame of the episode.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRL2sMlcPrTbQGV9Ro9-0xgSnjuB9X4pS9kbnMa3epPpH4Eyapck7J2yxSCHI4yBSfT-T_aEn2tFZDcLwydv4Qi81dYmq0EEVxlYbQYLg16zdhOnlQjha5n7kNTAQa6E4skkQGS2H0jaa1KwwLdRxJW1l598pvsVZiPnHm4M6rgfI-VnLmuPeeU4cvC5G2/s1043/Serangoon%20Road_Episode%205_Sam%20Callaghan%20and%20Patricia%20Cheng%20talk%20about%20counterfeit%20drugs_II.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="1043" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRL2sMlcPrTbQGV9Ro9-0xgSnjuB9X4pS9kbnMa3epPpH4Eyapck7J2yxSCHI4yBSfT-T_aEn2tFZDcLwydv4Qi81dYmq0EEVxlYbQYLg16zdhOnlQjha5n7kNTAQa6E4skkQGS2H0jaa1KwwLdRxJW1l598pvsVZiPnHm4M6rgfI-VnLmuPeeU4cvC5G2/w400-h224/Serangoon%20Road_Episode%205_Sam%20Callaghan%20and%20Patricia%20Cheng%20talk%20about%20counterfeit%20drugs_II.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The story has time
for some romance between Sam and Claire Simpson, the wife of an Australian
businessman. Sam has a good heart, but that doesn’t mean trouble doesn’t find
him or even that Sam never goes looking for it. Some of Sam’s trouble comes
from his business partner, Kang, who gambles at an establishment run by one of
the local gangs, the Red Dragons, and dates a woman running a combination
brothel and opium den. Sam and Kang run an import-export business, and there’s
always a bit of pressure to trade in illegal goods. Kang isn’t quite as willing
as Sam to resist the temptation.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Some additional
trouble comes in the form of complications with the U.S. Central Intelligence
Agency (CIA), who hires Patricia Cheng to find the person responsible for
killing a U.S. sailor on shore leave in the first episode. And that leads to
another romance about to blossom: between Conrad Harrison, a CIA agent who
keeps introducing himself as a cultural attaché, and Chen Su Ling, who works
for Patricia Cheng and is also her niece. Without trying too hard then, Sam has
lots of connections to the underworld and to powerful institutions and people,
which only sometimes have their advantages when he is trying to solve cases.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVoyzj6FKQ7FVHk3APFysgNDPffyJb4Xpcp7J0flrutz64CSDcKeUFxXzvKNVBpsarUwPa1aa_pUMY35I4XsrEEdsd3vp59f_J_VfSRsGou2QglSaexWrQQfVgIEkAr69WkWGe8BNCuzo1lzYX6_i1sDEsF4IRxI5bLjGVhKgA0pdQebFogDzjCmGiyphw/s1046/Serangoon%20Road_Episode%201_Sam%20Callaghan%20talks%20to%20Conrad%20Harrison,%20CIA%20agent,%20about%20the%20Navy%20Seals.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="1046" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVoyzj6FKQ7FVHk3APFysgNDPffyJb4Xpcp7J0flrutz64CSDcKeUFxXzvKNVBpsarUwPa1aa_pUMY35I4XsrEEdsd3vp59f_J_VfSRsGou2QglSaexWrQQfVgIEkAr69WkWGe8BNCuzo1lzYX6_i1sDEsF4IRxI5bLjGVhKgA0pdQebFogDzjCmGiyphw/w400-h225/Serangoon%20Road_Episode%201_Sam%20Callaghan%20talks%20to%20Conrad%20Harrison,%20CIA%20agent,%20about%20the%20Navy%20Seals.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Patricia Cheng isn’t
the only one troubled by the past (that is, the murder of her husband). Sam has
a history, too. Through flashbacks, viewers learn that, as a young boy, he was
imprisoned in the infamous Changi Prison during World War II. The first episode
starts with one of Sam’s flashbacks: He witnessed the murder of one of his childhood
friends by the Japanese because they suspected him of stealing rice. As the
series continues, viewers also learn that he lost both his parents and survived
with the help of a fellow Australian prisoner. It’s a grim story that continues
to haunt him.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">For
background information on the history behind some of the historical elements in
the story line of <i>Serangoon Road</i>, click on each item in the following
list:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ <a href="https://en.wikipedia.org/wiki/Changi_Prison" target="_blank">Changi Prison</a></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ <a href="https://eresources.nlb.gov.sg/infopedia/articles/SIP_45_2005-01-06.html" target="_blank">Communal riots of 1964</a></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ <a href="https://en.wikipedia.org/wiki/1964_race_riots_in_Singapore" target="_blank">1964 race riots in Singapore</a></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9yJbniUhrGoB-iSTF8-UgDTKU2X7iHbatLoFn9QGq_fov44ogzBHfzxihHQmHeVJf7xdOoutA58lix4yqHFbPJoPHU1S6oopkim6cPDKNIzC2wP-sRc1GmCbCF9maugGvUrkulihi7n4OXVdhMwp2bQkKCD1wQCuaW3L4zdU54GuhHrVd9l4bWWzAuqgD/s1043/Serangoon%20Road_Episode%203_Nighttime%20street%20scene,%20with%20the%20Cheng%20Detective%20Agency%20at%20the%20right.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1043" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9yJbniUhrGoB-iSTF8-UgDTKU2X7iHbatLoFn9QGq_fov44ogzBHfzxihHQmHeVJf7xdOoutA58lix4yqHFbPJoPHU1S6oopkim6cPDKNIzC2wP-sRc1GmCbCF9maugGvUrkulihi7n4OXVdhMwp2bQkKCD1wQCuaW3L4zdU54GuhHrVd9l4bWWzAuqgD/w400-h224/Serangoon%20Road_Episode%203_Nighttime%20street%20scene,%20with%20the%20Cheng%20Detective%20Agency%20at%20the%20right.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Flashbacks are a
common noir element, but that’s not the only feature of <i>Serangoon Road</i>
that makes it noir. Sam and his investigative partners have plenty of political
corruption to contend with, both domestic and international. The international
intrigue comes from the presence of a British MI6 intelligence unit and the
U.S. CIA. And in spite of Great Britain and the United States being allies on
the international stage, members of each foreign agency compete with one
another in gathering intelligence. They have no scruples about compromising
other people and then blackmailing them to get what they want. Domestic
political rivalries and corruption also play a role. With almost ten hours of
screen time, there seems to be more than even Sam Callaghan handle: local gang
warfare, black marketeering, illegal drugs and counterfeit legal drugs,
blackmail, racial discrimination, and murder (of course).</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Two songs on the
show’s soundtrack help to emphasize the loneliness and despair that some of the
main characters face. Both are rock ’n’ roll standards that are surprisingly
dark for anyone who remembers the early days of rock ’n’ roll as boisterous,
loud, and fun. Rhythm and blues artist Irma Thomas sings “Anyone Who Knows What
Love Is (Will Understand),” the ballad that is a theme for Sam Callaghan’s and
Claire Simpson’s relationship. “Love Hurts,” by the Everly Brothers, is even
darker. If you watch the series on DVD, it is worth using the caption feature
so that you can read the lyrics to both songs.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0h4eVcu0YyqK5hegyAVck2uJHedkZl-hTg5lO3vUkFdNYhHBna3ltzmS22rLwkqeZPHkrXJtYoBzfmeMmXCLos1sevmNpqzoIXgZnipc1avdaMqb7sBsko0m3PWGXLyJkokZjuw62A44XLYxCo12FyxW-KuL6fEcJnoTvCuI4bf3xlRlYQtncd1WQ2aFY/s1022/Serangoon%20Road_Episode%208_Sam%20Callaghan%20and%20Claire%20Simpson%20talk%20for%20the%20first%20time%20after%20she%20learns%20about%20his%20opium%20habit.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="1022" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0h4eVcu0YyqK5hegyAVck2uJHedkZl-hTg5lO3vUkFdNYhHBna3ltzmS22rLwkqeZPHkrXJtYoBzfmeMmXCLos1sevmNpqzoIXgZnipc1avdaMqb7sBsko0m3PWGXLyJkokZjuw62A44XLYxCo12FyxW-KuL6fEcJnoTvCuI4bf3xlRlYQtncd1WQ2aFY/w400-h229/Serangoon%20Road_Episode%208_Sam%20Callaghan%20and%20Claire%20Simpson%20talk%20for%20the%20first%20time%20after%20she%20learns%20about%20his%20opium%20habit.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The interweaving of
the characters’ personal stories makes the series even more interesting. These
stories also get a lot of attention and detail; the camera often lingers long
enough to give a sense of the situation and what the characters are going
through. Sometimes the personal stories provide the tragedy and sorrow that
accompanies betrayal and crime, but sometimes they provide humor and diversion.
I thought <i>Serangoon Road</i> had the right mix, and it certainly kept me
coming back for more. I was hoping to find follow-up seasons to watch, but I
was disappointed on that score: The ten episodes were all that were filmed and
distributed.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">If I have any
complaints at all about the series, it is largely because of my own lack of
knowledge about Singapore, its history, and its relations with the United
States. I often find myself looking up words and events when I watch films noir
made in the United States in the 1940s, and I had to do the same for <i>Serangoon
Road</i>. For me, that’s not really a disadvantage because I enjoy following up
on details that pique my interest, but I can see where some viewers would find
it frustrating. Still, it would be a real shame to miss <i>Serangoon Road</i>
because of a bit of hesitation about learning something new while watching the
series!</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1bCHAbdS-n5DZLuxtkggtZligUKg97u4v17xX8cthd21btfe_3edvS6WiFQtqZpV44xSGp5i3A8DFMgE6b-VJRfGpRZHufITc77fPuipwdofOe-NpSPUR1l_XZtFDdAyAVZt1pIIqQ11tJlz9HPSbuVDQwXmnQO0y_YIeEj4fdqOhz_4T9wJctfQR27E/s1047/Serangoon%20Road_Episode%203_Chen%20Su%20Ling%20and%20Conrad%20Harrison%20talk%20outside%20the%20Cheng%20Detective%20Agency%20offices.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1047" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1bCHAbdS-n5DZLuxtkggtZligUKg97u4v17xX8cthd21btfe_3edvS6WiFQtqZpV44xSGp5i3A8DFMgE6b-VJRfGpRZHufITc77fPuipwdofOe-NpSPUR1l_XZtFDdAyAVZt1pIIqQ11tJlz9HPSbuVDQwXmnQO0y_YIeEj4fdqOhz_4T9wJctfQR27E/w400-h224/Serangoon%20Road_Episode%203_Chen%20Su%20Ling%20and%20Conrad%20Harrison%20talk%20outside%20the%20Cheng%20Detective%20Agency%20offices.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">There are so many
wonderful films noir and neo-noirs from abroad that I could recommend as part
of this Movie Blogger Challenge; I could have chosen many, so here is a short
list of some neo-noirs from abroad that I have already written about. If you
click on the film title, you can find my article about each:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"><a href="http://makeminefilmnoir.blogspot.com/2023/02/insomnia-1997.html" target="_blank">Insomnia</a></span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> (1997)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><a href="http://makeminefilmnoir.blogspot.com/2016/09/el-aura-aura-2005.html" target="_blank"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">El aura</span></i></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"><a href="http://makeminefilmnoir.blogspot.com/2016/09/el-aura-aura-2005.html" target="_blank"> (<i>The
Aura</i>)</a> (2005)<span style="color: blue;"></span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><a href="http://makeminefilmnoir.blogspot.com/2019/10/the-guilty-den-skyldige-2018.html" target="_blank"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The Guilty</span></i></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"><a href="http://makeminefilmnoir.blogspot.com/2019/10/the-guilty-den-skyldige-2018.html" target="_blank"> (<i>Den
skyldige</i>)</a> (2018)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"><a href="http://makeminefilmnoir.blogspot.com/2020/12/transit-2018.html" target="_blank">Transit</a></span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> (2018)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><a href="http://makeminefilmnoir.blogspot.com/2022/06/the-dry-2020.html" target="_blank"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The Dry</span></i></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> (2020)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<h1 style="margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Passing
the baton in the Movie Blogger Challenge</span></b></h1>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">As I mentioned, this
blog article about <i>Serangoon Road</i> is the result of a Movie Blogger Challenge
from Brian at <a href="https://www.filmsfrombeyond.com/2023/07/that-70s-sci-fi-tv-movie-5-people.html" target="_blank">Films from Beyond the Time Barrier</a>. He asked me to write about my
favorite “[neo-]noir(s) set somewhere other than the United States.” </span></b><!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">(Yes,
I did tweak the challenge a bit!) <span style="mso-bidi-font-weight: bold;">Now,
I get to pass on the challenge to the next group of bloggers, who have the
option of tweaking my requests, too.</span></span></b></p><h1 style="margin-top: 0in;"><b><span color="windowtext" style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";"></span></b></h1>
<h1 style="margin-top: 0in;"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";">◊ </span></b><b><span color="windowtext" style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";">Le from <a href="https://criticaretro.blogspot.com/" target="_blank">Crítica Retrô</a>: Favorite <span class="js-about-item-abstr">Agnès Varda</span> film.</span></b></h1>
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film(s) noir you believe would be the best to get the newcomer interested</span></b></p>
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<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">September
22 to November 29, 2013 (10 episodes), broadcast dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Series
created by Paul D. Barron<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed byPeter Andrikidis, Tony Tilse<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Written
by Michaeley O’Brien, Christopher D. Hawkshaw, Tony Morphett, Margaret Wilson,
Justin, Kym Goldsworthy, Timothy Lee, Andrew Ngin Chiang Meng<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
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Young</span></b></p>
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<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Don Hany as Sam Callaghan<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joan
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Sam<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
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Matthew Wong as Xiao Qiang<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kay Tong Lim as the Tiger General<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>P.
J. Lane as Ferguson, Navy Seal in the first episode<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cleave
Williams as Nate Crosby, sailor in the first episode<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Ernie Dingo as Robert (aka Robbo) Andrew Collier in the ninth episode</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Produced by the Australian Broadcasting Company, Media Development
Authority of Singapore, HBO Asia, ScreenWest, Lotterywest, Great Western
Entertainment, Infinite Studios<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Broadcast by the Australian Broadcasting
Company, HBO Asia, RED by HBO</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-91584941332389116682023-12-15T12:59:00.000-05:002023-12-15T12:59:37.278-05:00Casablanca (1942): Celebrating One Hundred Years of Warner Bros. with a Different Take on an Iconic Classic Film<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">They are in Morocco,
with World War II still raging on and the future most uncertain. Ilsa Lund
threatens to shoot Rick Blaine in his apartment over Rick’s Café Américain in
order to get two letters of transit for herself and her husband Victor Laszlo
in Warner Bros.’ classic film (noir). Rick’s response? “Go ahead and shoot.
You’ll be doing me a favor.”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspYQgnjPXrMfbH6Sn0pSfdnjolMYVflv1CjsNt4_CeuSwrF5TZOLbMG-mJbiPW6sNq8a2VJR4rZZ46JpuiCLcVz3pZV0xkz6ZgFGwC33Au2BttiLHUaSm8zzUsb4NaUeBmscBjsGa2xFKZ7SHeCNcGzPrlMEwt5-BA5Qoh8DdXI-jK1AJmbkydlrVeJ6R/s775/Casablanca_Rick%20Blaine%20to%20Ilsa%20Lund_Go%20ahead%20and%20shoot.%20You'll%20be%20doing%20me%20a%20favor.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="775" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspYQgnjPXrMfbH6Sn0pSfdnjolMYVflv1CjsNt4_CeuSwrF5TZOLbMG-mJbiPW6sNq8a2VJR4rZZ46JpuiCLcVz3pZV0xkz6ZgFGwC33Au2BttiLHUaSm8zzUsb4NaUeBmscBjsGa2xFKZ7SHeCNcGzPrlMEwt5-BA5Qoh8DdXI-jK1AJmbkydlrVeJ6R/w400-h299/Casablanca_Rick%20Blaine%20to%20Ilsa%20Lund_Go%20ahead%20and%20shoot.%20You'll%20be%20doing%20me%20a%20favor.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Rick’s fatalism overall
and his response to Ilsa in the scene described above are just two of the many
reasons that I think <i>Casablanca</i>, the classic film from Warner Bros.,
perhaps one of the most famous of the classic films, deserves to be called a
film noir. <i>Casablanca</i> is almost universally described as a love story.
And that it is, especially from the vantage point of 2023, with World War II
fading into the past. Humphrey Bogart and Ingrid Bergman, who play the leads,
Rick Blaine and Ilsa Lund, respectively, became Hollywood stars. For <i>Casablanca</i>,
they are remembered for their performances and their on-screen chemistry. Their
characters are in love, and their romantic entanglements and complications
drive the plot. I have seen <i>Casablanca</i> several times now, however, and
the story’s context, its backdrop of wartime sorrow and desperation and its
many noir characteristics stand out for me more and more with each viewing.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">(This article about <i>Casablanca</i>
contains spoilers for both the film adaptation and for its source material, the
play <i>Everybody Comes to Rick’s</i>.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
opening credits roll over a map of Africa. The film cuts to a map of Europe and
North Africa, and a voice-over narrator explains the refugee situation in wartime
Europe and the journey many are taking to leave their homes: from Paris to
Marseille, to Oran, to Casablanca in French Morocco. People are desperate. Shots
of a dotted line on the map shows a hypothetical trip to each city, and they are
intercut with newsreel footage of real refugees fleeing from the Nazis and the
increasing violence. The itinerary described by the narrator emphasizes the
many obstacles that stand in their way, with the destination points mentioned just
the beginning of a long and arduous journey that many hope will take them to
the United States.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The last
destination in Africa, Casablanca, is where Rick Blaine runs his </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Rick’s Café Américain. “I stick my neck out for nobody,” he tells
Captain Louis Renault. He repeats these same words when Ugarte is arrested for
murder by the French police (that is, the Vichy government) in the café.
Viewers learn, after Ilsa’s Lund’s first appearance in the film, that the
abrupt end to Rick’s romance with her in Paris before the war is largely
responsible for his cynicism, his fatalism, his unwillingness to take a side.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">When Ilsa walks into his café one
night years after their bitter separation, Rick is astonished. He never thought
he would see her again. Her appearance comes with another shock: She is married
and in Casablanca with her husband Victor Laszlo, the celebrated resistance
fighter who is a legend all over Europe. He and Ilsa need to get out of
Casablanca before the Nazis, under the guise of the Vichy government, arrest them
both. Victor Laszlo and Ilsa Lund are now two more members of the swelling
refugee population in Casablanca. And their prospects for escape appear to dim
as the plot of the film unfolds.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimkoY0UGopVd6jHDJZhXUj0hnvnT7k00hUPpW0SnvfaI9rK8mCzrlQf4Rv9Aj_hYKpxIQ3uCkOBSvEP8q4JJBuO69NPFCYYmv3_WiRnftugoqRgoLzAtZDWBcJH3ecneMluJdPeC2JW6qnmJVDkVkGtd_E8DiQZwTQxCIPJle1uJFNdWo1EuXjekH4kavV/s774/Casablanca_Rick%20and%20Ilsa_She%20returns%20to%20the%20club%20to%20talk%20to%20Rick%20about%20transit%20papers%20and%20leaving%20Casablanca_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="774" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimkoY0UGopVd6jHDJZhXUj0hnvnT7k00hUPpW0SnvfaI9rK8mCzrlQf4Rv9Aj_hYKpxIQ3uCkOBSvEP8q4JJBuO69NPFCYYmv3_WiRnftugoqRgoLzAtZDWBcJH3ecneMluJdPeC2JW6qnmJVDkVkGtd_E8DiQZwTQxCIPJle1uJFNdWo1EuXjekH4kavV/w400-h301/Casablanca_Rick%20and%20Ilsa_She%20returns%20to%20the%20club%20to%20talk%20to%20Rick%20about%20transit%20papers%20and%20leaving%20Casablanca_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
danger of war and the horrors of becoming a refugee likely would have had a
bigger impression on 1942 audiences. The United States had already entered the
war, and in fact the Allies invaded French North Africa, including Casablanca,
in November 1942. Casablanca was in the news because of war, certainly not
because of the film. Two months later, in January 1943, British prime minister Winston
Churchill and U.S. president Franklin Delano Roosevelt met in Casablanca to
discuss military strategy. The release date of the film was pushed up to take
advantage of these current events. Viewers at the time knew full well what was
at stake.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">After
much bargaining and under constant fear of betrayal, Victor Laszlo and Ilsa
Lund finally make it to the tiny airport in Casablanca and the plane waiting to
fly to Lisbon, Portugal. When they land in Lisbon, they will be safe, and they
will be able to continue to the United States. After the plane takes off, Rick Blaine
and Captain Renault are left behind on the tarmac, where they discuss the need
for both of them to disappear. The Nazis won’t be happy about Victor Laszlo’s
escape or about the death of </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Major Heinrich
Strasser. As they stroll away into the fog at the airport, Rick tells Renault,
“Louis, I think this is the beginning of a beautiful friendship.” It seems to
be a happy ending: The lovers have left Casablanca, Victor Laszlo will be able
to continue his work fighting the Nazis, and Rick and Renault have time to make
their own escape.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Now that I am older
and know more about the time period, however, I don’t see the ending of <i>Casablanca</i>
as quite so happy anymore. A lot of ambiguity hangs over the final scene. No
one in 1942 knew that the Allies would be victorious. Knowledge of the extent
of the wartime destruction, the years of suffering during and after the war,
and the hard work of rebuilding Europe were still unknowns in 1942.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUsJPLHDww6tMIy5otrBO1J_tQ4dFt9G9sWWGcOO9VMiyeNRGpV13zh4bTL7L76zkHeIaqIbFtxzs6JD5N1Op7wydyFFZRRGvI71Cddb9Q6BjiGSlB-O5KE_3N4mtS1gJ1agJKJWzf0mJHInqWcenHv2xMwptbE4ZjCiAkDyM2rSlM_Oa3nAT6QoHdMiX/s783/Casablanca_Rick%20holds%20a%20gun%20on%20Captain%20Renault%20because%20he%20wants%20Victor%20and%20Ilsa%20to%20leave%20Casablanca%20using%20the%20letters%20of%20transit.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="783" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUsJPLHDww6tMIy5otrBO1J_tQ4dFt9G9sWWGcOO9VMiyeNRGpV13zh4bTL7L76zkHeIaqIbFtxzs6JD5N1Op7wydyFFZRRGvI71Cddb9Q6BjiGSlB-O5KE_3N4mtS1gJ1agJKJWzf0mJHInqWcenHv2xMwptbE4ZjCiAkDyM2rSlM_Oa3nAT6QoHdMiX/w400-h299/Casablanca_Rick%20holds%20a%20gun%20on%20Captain%20Renault%20because%20he%20wants%20Victor%20and%20Ilsa%20to%20leave%20Casablanca%20using%20the%20letters%20of%20transit.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">And then there is the
matter of Captain Louis Renault. He has become a patriot, a hero after letting
Rick Blaine off the hook for shooting Major Strasser. But Captain Renault had a
checkered past in Casablanca. He collaborated with the Nazis when it suited
him. He used his position as police captain to trade exit visas for sex and
sexual favors. He preyed on women’s desperation. And there was always the
chance that he would abuse his power still further by changing his mind at the
last minute.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The possibility that
Captain Renault would renege on his deals was the fear of Annina Brandel, the
young Bulgarian refugee who is in Casablanca with her husband Jan. Annina
Brandel visits Rick in his café to ask about Captain Renault’s reliability. She
explains why she and her husband left Bulgaria: “The devil has the people by
the throat.” Staying under Nazi occupation is more desperate than deciding to
leave. Rick is so cynical that he advises her to return home, but then he
allows her husband to win in the casino so that they have the money for the
exit visas, and she doesn’t have to give in to Renault’s demands.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwCY8kqsrxUTNFxg-hCaFDj8e45tAeUXN7wFjsy-JxjuVd_UtIUJSKHDk8ZhORE11_ATCop455QEybrhjuZyuMzWVzQR3CR4V-VD2ur6tbwuycue4DoHjQy1uVAVM7pweHShN2mr6E_XqeE9qmXSEQ5v38125oKuA6r6qoSZBVDW44MAaNt7hel9md_oa0/s784/Casablanca_Bulgarian%20refugee%20Annina%20Brandel%20meets%20with%20Rick%20in%20his%20cafe%20to%20find%20out%20if%20Captain%20Renault%20will%20keep%20his%20word_The%20devil%20has%20the%20people%20by%20the%20throat.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="784" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwCY8kqsrxUTNFxg-hCaFDj8e45tAeUXN7wFjsy-JxjuVd_UtIUJSKHDk8ZhORE11_ATCop455QEybrhjuZyuMzWVzQR3CR4V-VD2ur6tbwuycue4DoHjQy1uVAVM7pweHShN2mr6E_XqeE9qmXSEQ5v38125oKuA6r6qoSZBVDW44MAaNt7hel9md_oa0/w400-h297/Casablanca_Bulgarian%20refugee%20Annina%20Brandel%20meets%20with%20Rick%20in%20his%20cafe%20to%20find%20out%20if%20Captain%20Renault%20will%20keep%20his%20word_The%20devil%20has%20the%20people%20by%20the%20throat.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">It's hard for me to
understand why Captain Renault’s treatment of women is often glossed over, but
reviewers never even mention it. In fact, I saw the film on Blu-ray, which came
with an audio commentary by Roger Ebert, the respected film critic. This is
what he says about the lead characters, including Captain Renault: </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“. . . because there isn’t really a single lead
character among all the leads. Certainly, the Nazis are bad, but among the main
characters, even Claude Rains as the police chief is basically a good guy . .
.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">What?</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">As I
said, Claude Rains’s character Captain Renault doesn’t become a French patriot
until the very end, when viewers realize that he has let Rick off the hook for
the murder of Major Strasser. As if to emphasize his “transformation,” he drops
a bottle of water from Vichy into a trash can and then kicks it in disgust. While
Renault’s willingness to look the other way after Rick kills Strasser is
laudable (one could make the case that the shooting was in self-defense, but no
Nazi would have cared about that), I find his turnaround at the end of the film
doesn’t quite make up for the evil he has been getting away with all along in <i>Casablanca</i>.
Roger Ebert glosses over the suffering that Renault has inflicted on refugees.
Protecting the true hero, Rick Blaine, and kicking the can at the end is only a
start. Let’s see what Renault does when he and Rick finally leave Casablanca.
(Sequel, anyone?)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Rick’s turnaround is
much more believable. He says again and again that he never sticks his neck out
for anyone, but he never actively hurts anyone either. He does the best he can
under very difficult circumstances. There are other clues throughout <i>Casablanca</i>
about his good intentions, even though he always denied having any good
intentions at all. For example, he makes sure that his ex-girlfriend Yvonne is
seen home safely in a cab and in the company of a café employee when she has
had too much to drink. He keeps his employees on the payroll as long as he can
after Renault shuts down the café on the orders of Major Strasser.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyKKyp_uc-m13WD6jiYXzauokxWAAWAolTiNFoTEPxj_kv73xl2B5ZNQVmJlBj3SBXZDQaeguH3UsIdGBPLLoaXTRZ4F8fLBDbfC6MWwS70NKegrZhrPfk3mbGmo4Vus3Cv2Eu2j2lf6Z2A79giHntSQgILfyRYC47rykSSEnmSXOLIpRB8RmGHGkoFsQb/s783/Casablanca_Rick%20alone%20and%20drunk%20in%20the%20club%20after%20Ilsa%20walks%20out.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="783" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyKKyp_uc-m13WD6jiYXzauokxWAAWAolTiNFoTEPxj_kv73xl2B5ZNQVmJlBj3SBXZDQaeguH3UsIdGBPLLoaXTRZ4F8fLBDbfC6MWwS70NKegrZhrPfk3mbGmo4Vus3Cv2Eu2j2lf6Z2A79giHntSQgILfyRYC47rykSSEnmSXOLIpRB8RmGHGkoFsQb/w400-h299/Casablanca_Rick%20alone%20and%20drunk%20in%20the%20club%20after%20Ilsa%20walks%20out.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">What
finally convinced me to write about the noir features of <i>Casablanca</i>, its
shadowy lighting, its wartime setting, its many desperate characters, was a
piece I read online by Nellie Gilles for National Public Radio (NPR) in January
2023: “The Real-Life Refugees of <i>Casablanca</i> Make It So Much More Than a
Love Story.” Gilles’s article for NPR is devoted specifically to the wartime
setting and the refugee crisis that form the context of <i>Casablanca</i>. Gilles
isn’t the only one, of course, to have noticed this feature of <i>Casablanca</i>:
that so many of its actors escaped from Europe when the Nazis were intent on
taking over. Both Rudy Behlmer and Roger Ebert provide audio commentaries on
the Blu-ray release of the film. Behlmer states that many actors playing small
and bit parts were refugees from Nazi-occupied Europe. Ebert mentions that only
four of the actors in <i>Casablanca</i> who receive screen credit for their
roles were born in the United States.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">You
can read Nellie Gilles’s online article and listen to the NPR Radio Diaries
segment by clicking <a href="https://www.npr.org/2023/01/23/1150791939/casablanca-war-movie-film-refugees-nazis" target="_blank">here</a>.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film
is based on an unproduced play called <i>Everybody Comes to Rick’s</i> by
Murray Burnett and Joan Alison. Burnett, a New York City teacher, had visited
Europe, and he based the play on what he and his wife learned during his visit.
He saw the refugee crisis firsthand because he helped relatives leave Europe. The
anti-Semitism that he saw in Vienna prompted him to write the play with his
cowriter, Joan Alison. The main characters Rick and Ilsa in the film are Rick
and Joan in the play, and they are more cynical in the play than they are in <i>Casablanca</i>.
Luis Rinaldo (Louis Renault in the film) is much less charming and amusing and
much more overtly lascivious in the play. The Bulgarian refugees just barely
make it out of Casablanca, and they do so only with Rick’s help. Captain
Heinrich Strasser (not a major in the play) is never under any threat or in any
danger; in fact, he arrests Rick, who assumes that he won’t survive for long in
Nazi custody as he is dragged off the stage. Even if you don’t want to see <i>Casablanca</i>
as anything other than a love story, it still has darker, more noir roots in
the original play.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I
have not been able to find a published version of the play, but you can read <i>Everybody
Comes to Rick’s</i>, by Murray Burnett and Joan Alison, online in typescript
form. Click <a href="https://archive.org/details/everybody-comes-to-ricks/page/n5/mode/2up" target="_blank">here</a> to read it at the Internet Archive. I found that the PDF
download option provided a more legible way to read the copy.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
voice-over narrator in the opening sequence of <i>Casablanca</i> and his
description of the refugees’ journey to Casablanca reminded me of a more recent
film: <i>Transit</i> ((2018). The male protagonist in <i>Transit</i>, Georg, is
wanted by the police in an authoritarian version of modern-day (2018) France.
He makes his way to Marseille and successfully eludes capture, but in
Marseille, he and other refugees must wait for the proper documentation to get
out of the country permanently. <i>Transit</i> is based on the novel of the
same name by Anna Seghers, which I was inspired to read after seeing the film.
The novel, published in 1944, is representative of postwar literature published
in France: bleak, existential, a series of events that barely form a plot. Both
the novel and the film capture that feeling of desperation that I think forms
the basis for <i>Casablanca</i>, too.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Click
<a href="http://makeminefilmnoir.blogspot.com/2020/12/transit-2018.html" target="_blank">here</a> to find my article about <i>Transit</i> (2018).</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I have never heard
anyone describe <i>Casablanca</i> as a film noir, but I think it has its share
of noir elements behind Ilsa Lund and Rick Blaine’s love story: wartime
desperation, existential angst, shadowy (chiaroscuro) lighting, ambiguity. Ilsa
Lund suffers from the ambiguity of loving both leading men. She and Rick may
share a grand cinematic love story, but I think she loves her husband Victor
Laszlo (played by Paul Henreid), too. Rick Blaine may protest otherwise, but he
isn’t so very different from Victor Laszlo after all. The characters—and the
film’s viewers and creators in 1942—had no idea how the war would end. That
kind of ambiguity is hard to appreciate in 2023, but it is one of many of the
film’s noir elements nonetheless.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQNDv-ODsZx-4cAiSUEEun5DEnp_xUHj9N_wxqZT2_NIVQ4bcsGK4Ti54fa62pV_Kb3PrrD5JqcITna7X0Z1qj9oudwIIUoFiJ577B007OZrzyMM8_iZGoXV3RQLPvywDoV2nDMik_fYY6n-yxj26zVbaf0gOtoVChaidIBsVWVQgvsGUO5iI0gStLAM0/s786/Casablanca_Victor%20and%20Ilsa%20learn%20that%20there%20are%20no%20letters%20of%20transit%20for%20them,%20and%20Victor%20refuses%20to%20leave%20Casablanca%20without%20her.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="786" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQNDv-ODsZx-4cAiSUEEun5DEnp_xUHj9N_wxqZT2_NIVQ4bcsGK4Ti54fa62pV_Kb3PrrD5JqcITna7X0Z1qj9oudwIIUoFiJ577B007OZrzyMM8_iZGoXV3RQLPvywDoV2nDMik_fYY6n-yxj26zVbaf0gOtoVChaidIBsVWVQgvsGUO5iI0gStLAM0/w400-h294/Casablanca_Victor%20and%20Ilsa%20learn%20that%20there%20are%20no%20letters%20of%20transit%20for%20them,%20and%20Victor%20refuses%20to%20leave%20Casablanca%20without%20her.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">There’s no doubt,
however, that <i>Casablanca</i> is one of the most celebrated classic films.
Its complexity is probably one of the reasons that is stands up so well to the
test of time. Warner Bros. never thought it would be anything more than a B
film, and yet here we are, celebrating the film eighty-one years later as part
of the one-hundred-year anniversary of the Warner Bros. studio.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">This
article about <i>Casablanca</i><i style="mso-bidi-font-style: normal;"> </i>is my
entry for the One Hundred Years of Warner Bros. Blogathon, hosted by Constance
and Diana at their blog, Silver Scenes. Click <a href="https://silverscenesblog.blogspot.com/2023/12/the-100-years-of-warner-brothers.html" target="_blank">here</a> for a day-by-day list of
links to the participating blogs. The list is updated each day of the
blogathon, from December 15 to 17.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">November
26, 1942 (Hollywood Theater), January 23, 1943 (United States), release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Michael Curtiz<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Julius J. Epstein, Philip G.
Epstein, Howard Koch<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the play <i>Everybody Comes to
Rick’s</i> by Murray Burnett, Joan Alison<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Music by Max Steiner<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Owen Marks<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Arthur Edeson</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Humphrey Bogart as
Rick Blaine<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ingrid Bergman as Ilsa Lund<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Henreid as Victor Laszlo<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Claude Rains as Captain Louis Renault<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Conrad
Veidt as Major Heinrich Strasser<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Sydney Greenstreet as Signor Ferrari<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Peter
Lorre as Signor Ugarte<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Curt Bois as the pickpocket<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Leonid
Kinskey as Sascha, the Russian bartender<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Madeleine Lebeau as Yvonne,
Rick’s soon-discarded girlfriend <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joy Page as Annina Brandel, the young
Bulgarian refugee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>John Qualen as Berger, Laszlo’s Resistance
contact<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>S. Z. Sakall as Carl, the waiter<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dooley
Wilson as Sam<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Marcel Dalio as Emil the croupier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Helmut
Dantine as Jan Brandel<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Gregory Gaye as the German banker<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Torben
Meyer as the Dutch banker<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Corinna Mura as the guitar player<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Frank
Puglia as a Moroccan merchant<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Richard Ryen as Colonel Heinze, Strasser’s
aide<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Dan Seymour as Abdul the doorman<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Gerald Oliver Smith as the
Englishman whose wallet is stolen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Norma Varden as the Englishwoman whose
husband has his wallet stolen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lou Marcelle as the voice-over narrator</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;"></span></b></p>
<p style="margin: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Warner Bros. Pictures<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by Warner Bros.
Pictures</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com6tag:blogger.com,1999:blog-9001384737868808902.post-79753205323925634692023-11-18T20:08:00.000-05:002023-11-18T20:08:49.508-05:00Suddenly (Part II) (1954): Ellen Benson, a Woman Alone in 1950s America<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I mentioned in my
last article about the film <i>Suddenly</i> that I planned to write about it again
because I want to focus on the mother, Ellen Benson. The role of Ellen Benson
highlights how women were portrayed and treated in film in the 1950s. I had
decided, after seeing the film several times, that Ellen Benson should be
acknowledged for her heroism in <i>Suddenly</i>—after almost seventy years!</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglOUm9GiJ9S0nwjbLQOBHlDtEsXPxojywQsx_DOnyVpQz06BF3Ss6oAulTOzvVGXWTHGlcfhZ8niaqRDn8iV-m1rekd_UxdXnz-EN7XprYmpgs-sD40n_tkS1f8G9ZcecDhGaVVkwCugJ3Tj66bTJPkoO0szpTz3p_GTmTce7FdK1Sskw1LtH_nimd0Cp9/s956/Suddenly_John%20Baron%20gives%20Ellen%20Benson%20a%20chance%20to%20kill%20him,%20except%20that%20the%20gun%20he%20has%20given%20her%20isn't%20loaded,%20but%20she%20doesn't%20know%20that%20and%20can't%20shoot%20him%20anyway.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="956" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglOUm9GiJ9S0nwjbLQOBHlDtEsXPxojywQsx_DOnyVpQz06BF3Ss6oAulTOzvVGXWTHGlcfhZ8niaqRDn8iV-m1rekd_UxdXnz-EN7XprYmpgs-sD40n_tkS1f8G9ZcecDhGaVVkwCugJ3Tj66bTJPkoO0szpTz3p_GTmTce7FdK1Sskw1LtH_nimd0Cp9/w400-h266/Suddenly_John%20Baron%20gives%20Ellen%20Benson%20a%20chance%20to%20kill%20him,%20except%20that%20the%20gun%20he%20has%20given%20her%20isn't%20loaded,%20but%20she%20doesn't%20know%20that%20and%20can't%20shoot%20him%20anyway.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Click <a href="http://makeminefilmnoir.blogspot.com/2023/11/suddenly-part-i-1954-guns-in-postwar.html" target="_blank">here</a>
for my first post about <i>Suddenly</i> (1954).</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The first time that I
saw <i>Suddenly</i>, I didn’t notice how toxic Sheriff Tod Shaw is, at least as
a prospective romantic partner for Ellen Benson. After all, he’s a hero in the
film. He fought in World War II, and he continues his service to his local
community, the very small rural town of Suddenly, in his role of sheriff. But I
noticed his toxicity on repeat viewings. Ellen Benson finally decides to accept
his romantic overtures, but I wanted to reach through the screen and stop her!</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Suddenly</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is in the public domain and is available to
watch online for free. Click <a href="https://archive.org/details/Suddenly1954HD" target="_blank">here</a> to see it at the Internet Archive. It’s worth
it, however, to find the DVD published by Film Chest Inc. because it includes
audio commentary provided by Tom Santopietro, author of several books and one
about Frank Sinatra in particular.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In one of
the first scenes in the film, Ellen Benson’s son, Peter Benson (nicknamed
Pidge), walks down the main street in Suddenly and stops to admire a toy gun in
a shop window. He meets Sheriff Tod Shaw and tells him that he would really
like to have a gun. Tod Shaw is in love with Pidge’s mother Ellen. She’s a war
widow; her husband Pete was killed fighting in World War II. She does not want
her son to be a victim of violence and doesn’t want him to have a gun. Tod buys
Pidge a gun anyway, which angers Ellen Benson when she discovers what Tod has
done.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tod Shaw
is very argumentative with Ellen when he meets her later in the grocery store, even
though he is the one interfering in her life and with her family. Tod feels
that Pidge should learn about guns and how to use them to protect himself and
others. In addition, he</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> badgers Ellen while
she is grocery shopping about her selfishness and leaving him and her son Pidge
alone. Tod is in love with Ellen and wants to marry her, but he doesn’t present
himself as an appreciative partner. He raises his voice to her and argues with
her in public. He bases his position on two “facts” (as he defines them): that
she would be better off with a partner and that she is only making him and her
son more miserable by not moving on.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJh_CsbOsNwAmHFG_4C8A0huQ9UAzhCfBnjEASgSvvv7HvdV9Y34aMafVzDrLX3aHwf0T59DNP4lvuj6WyoSChAtFtkgWlFN5iMq4NjvJsUCo47wOp7K0t_Z6NZ54XPPTL15Nk84IQex4B9PIbj_f52p4JFzZXr_JBtixO4D9paR-K173Qm-Nvr7q2BjJz/s982/Suddenly_Sheriff%20Tod%20Shaw%20tries%20to%20convince%20Ellen%20Benson%20to%20let%20him%20into%20her%20life.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="982" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJh_CsbOsNwAmHFG_4C8A0huQ9UAzhCfBnjEASgSvvv7HvdV9Y34aMafVzDrLX3aHwf0T59DNP4lvuj6WyoSChAtFtkgWlFN5iMq4NjvJsUCo47wOp7K0t_Z6NZ54XPPTL15Nk84IQex4B9PIbj_f52p4JFzZXr_JBtixO4D9paR-K173Qm-Nvr7q2BjJz/w400-h248/Suddenly_Sheriff%20Tod%20Shaw%20tries%20to%20convince%20Ellen%20Benson%20to%20let%20him%20into%20her%20life.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">As if Tod’s bullying
weren’t bad enough, he undermines Ellen’s authority as the parent of Pidge by
going behind her back and buying her son a gun when he knows that she doesn’t
want Pidge to have one. But Tod is a war hero and the sheriff in town. He presents
the same arguments that her father-in-law recites to her about service to the
country and readiness to serve. In other words, her son should be familiar with
guns so that he can serve his country and protect his family. The fact that he
is a young boy and still has plenty of time to learn how to handle guns is
never mentioned.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i style="mso-bidi-font-style: normal;">Suddenly</i> contains spoilers.)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Tod’s case could be
strengthened by the fact that he helps the Benson family survive the hostage
ordeal, and he is a hero once again. But he himself never mentions that Ellen
fired the first shot to put John Baron out of commission. None of the other characters
acknowledge her role either. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">She takes
Baron by surprise and incapacitates him. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Tod </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">takes the gun from Ellen and shoots John Baron a second time, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">the shot that kills Baron, and he takes all the credit.
Ellen gets none; she herself never acknowledges her own role in the defense of
her home and comes to believe that she would be better off with Tod after all.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid2KKrzDkgoNPa6-9h_FqKJRnlXbGdwNx0YtAqutT6P1jdHHghMhHGoVaXWAeYgPiBUCC14itcdQSiMGCMQhiwYLK1pUbTqlRorX_O9iOCSOaNUhNgBHAN8Enb_P7_w0JyO-11raic6m5h8AXDq1usUU2YOHjKP-B-8gxyfNKsb5Zxjq80qoOlbGos-bhs/s959/Suddenly_Ellen%20Benson%20picks%20up%20a%20gun%20and%20shoots%20John%20Baron.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="959" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid2KKrzDkgoNPa6-9h_FqKJRnlXbGdwNx0YtAqutT6P1jdHHghMhHGoVaXWAeYgPiBUCC14itcdQSiMGCMQhiwYLK1pUbTqlRorX_O9iOCSOaNUhNgBHAN8Enb_P7_w0JyO-11raic6m5h8AXDq1usUU2YOHjKP-B-8gxyfNKsb5Zxjq80qoOlbGos-bhs/w400-h265/Suddenly_Ellen%20Benson%20picks%20up%20a%20gun%20and%20shoots%20John%20Baron.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Ellen Benson doesn’t
embrace violence willingly. John Baron and the situation that he has created in
the Benson home weigh on her again and again until she acknowledges that
self-defense may be the only way. One particular scene emphasizes how hard it
is for her to reach the decision to shoot Baron. In this scene, Ellen addresses
John Baron directly and tells him that she wishes he were dead. Baron seems to
be amused by her declaration and tells Ellen, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“You don’t have the guts.” He is so confident in her
reluctance that he hands his gun to Ellen, but she can’t shoot him. She always
has her son foremost in her mind, and his life could still be in danger. The
gun wasn’t loaded anyway, but only John Baron knew that. This scene underscores
Ellen Benson’s hope and optimism and John Baron’s deep cynicism.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Talk of World War II,
the experience of war, and grappling with the issues brought up by extreme
wartime situations are major themes in <i>Suddenly</i>. Exploration of these
themes start with Pidge’s desire to have a cap gun and his mother’s reluctance
to let him begin to learn that violence exists in the world. Ellen Benson’s
role in resolving the hostage crisis and her views on guns in her home receive
little attention. She is reluctant to use guns, and she is reluctant to let her
son learn about guns and violence too early in life. She is not afraid to
defend herself and her son, however, but only when the threat becomes so
dangerous that she is finally willing to take the step.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvos_5FXc-dxx_Dnks8swUYomYAvJKPvvGdMBNjRn5hQ_35OZqY6aAJEJztbg3TLXwYj39LcCqvsl1eaO5afOUz5GJ8RMldlFhpRdZWIsGpU1xH6UyFyqvMUUIs9MNH_1FcdQzBOPHmACcWJt91s3Uh71xYQ2wNIikfjNxfYQq1xvMvbvqFYuOhUSN3La/s987/Suddenly_Sheriff%20Tod%20Shaw%20tells%20Ellen%20Benson%20that%20he%20bought%20a%20cap%20gun%20for%20Pidge,%20and%20she%20isn't%20happy%20about%20it..png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="987" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvos_5FXc-dxx_Dnks8swUYomYAvJKPvvGdMBNjRn5hQ_35OZqY6aAJEJztbg3TLXwYj39LcCqvsl1eaO5afOUz5GJ8RMldlFhpRdZWIsGpU1xH6UyFyqvMUUIs9MNH_1FcdQzBOPHmACcWJt91s3Uh71xYQ2wNIikfjNxfYQq1xvMvbvqFYuOhUSN3La/w400-h245/Suddenly_Sheriff%20Tod%20Shaw%20tells%20Ellen%20Benson%20that%20he%20bought%20a%20cap%20gun%20for%20Pidge,%20and%20she%20isn't%20happy%20about%20it..png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The audio commentary by Tom Santopietro on the DVD
published by Film Chest Inc. is well worth a listen, especially for fans of
Frank Sinatra. Santopietro wrote a book about Sinatra, and his knowledge about
the actor and his role in the film is obvious from the commentary. (Santopietro
doesn’t comment much on Ellen Benson and her role in the film, much like the
male characters in the film.) Here are just a few of the many points from his
commentary, with my thoughts added here and there in red:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-style: italic;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film is very cynical
about violence and the treatment of children.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Ellen Benson is still
suffering from the loss of her husband and is smothering her son as a result.
It’s a dark theme in a multilayered film.<span style="color: red;"> [But I
wonder: Why does he have to have a gun <i>not</i> to be smothered? And only the
adults make this judgment. Pidge just wants a cap gun. There is no other
indication that he is being “smothered.”]</span> </span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Television is crucial to
the plot, the same way that it was crucial in changing the film industry in the
1940s and 1950s.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Most of the film takes
place in the Benson home, in their living room, which is another feature that
gives it a feel of claustrophobia. <span style="color: red;">[I didn’t feel that
the film was claustrophobic because of the setting. The Benson house is large
and the characters spend time in different rooms. There are also several scenes
outside in the town. I thought the feeling of claustrophobia came from the constant
threat of violence.]</span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">John Baron is a violent
man. He kills Dan Carney and threatens to kill Pidge Benson, a child. Viewers
don’t know what Baron will do next.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film resonates in 2012 <span style="color: red;">[and in 2023]</span> with its violence, especially the gun
violence, and political unrest.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Ellen Benson’s “weapons”
are lipstick and rouge when Secret Service agent Haggerty shows up at her front
door to ask for the whereabouts of Agent Dan Carney and Sheriff Tod Shaw. <span style="color: red;">[No mention is made of Ellen Benson picking up a gun at the
end of the film. She is the one who incapacitates John Baron and gives Shaw the
chance to deliver the final shot.]</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Tod bullies Ellen for
his own benefit. He picks an argument with her while she is shopping in a
grocery store, in public. Part of his argument is that Pidge needs a father
figure, but he could serve as a father figure for her son without marrying
Ellen and moving in; he seems to forget that her father-in-law is still living
in her home and is already serving as a father figure to his own grandson. Tod
may be a wartime hero and capable under fire during peacetime, but what will
daily life be like for Ellen after he moves in? Will he always be arguing,
always be right, and undermine her at every turn? His track record on-screen
doesn’t help his case.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdcz0Nsam3utuLoTxjOvf-X2xxd7yxQ6SL01gPBTZCprmTp2CmlTiAz1-yB-FeGBU_XeEywTUqnfZ9FWTORbk-rwtVk_Ze1DcNLT1TYuWbToojdvve-Xx8DcUghvxfnsIk8ljqHfSE7M1YUAeAbA-CpwNwXEFDhlnOexjEl4oj2qqH8s-eD-kipSRtzPX/s985/Suddenly_Sheriff%20Tod%20Shaw%20tells%20Ellen%20Benson%20to%20calm%20down,%20after%20John%20Baron%20threatens%20to%20kill%20her%20son%20Pidge%20and%20then%20tells%20Tod%20Shaw%20to%20_take%20care_%20of%20her.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="985" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdcz0Nsam3utuLoTxjOvf-X2xxd7yxQ6SL01gPBTZCprmTp2CmlTiAz1-yB-FeGBU_XeEywTUqnfZ9FWTORbk-rwtVk_Ze1DcNLT1TYuWbToojdvve-Xx8DcUghvxfnsIk8ljqHfSE7M1YUAeAbA-CpwNwXEFDhlnOexjEl4oj2qqH8s-eD-kipSRtzPX/w400-h253/Suddenly_Sheriff%20Tod%20Shaw%20tells%20Ellen%20Benson%20to%20calm%20down,%20after%20John%20Baron%20threatens%20to%20kill%20her%20son%20Pidge%20and%20then%20tells%20Tod%20Shaw%20to%20_take%20care_%20of%20her.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">But this is 1954, and
no woman was supposed to be alone and fending for herself, even with the help
of her father-in-law. Tod loves her and that should be good enough for her.
It’s eventually good enough apparently for Ellen Benson because the film ends with
Ellen agreeing to go to church with Tod, thus making their relationship public
and “official,” at least by 1950s standards.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I suppose I’ll always
want to reach through the screen and stop Ellen every time I see the film. I’d
love to see a sequel in which Tod realizes how much Ellen contributed to saving
their lives and to the success of their relationship afterward. And I’d like to
know that he stops bullying her and making all her decisions and . . . well,
one can hope anyway.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">October
7, 1954, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Lewis Allen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Screenplay by Richard Sale<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by David Raksin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Edited by John F. Schreyer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Charles G. Clarke</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank Sinatra as John Baron<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Sterling Hayden as Sheriff Tod Shaw<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>James Gleason as Peter (aka Pop)
Benson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Nancy Gates as Ellen Benson<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Kim Charney as Peter (aka
Pidge) Benson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul Frees as Benny Conklin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Christopher Dark as Bart Wheeler<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Willis Bouchey as Dan Carney,
Chief Secret Service Agent<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul Wexler as Deputy Sheriff Slim Adams<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>James Lilburn as Jud Kelly (Jud Hobson in the credits)<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kem
Dibbs as Wilson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Clark Howat as Haggerty<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Charles Smith as Bebop<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dan White as Desk Officer Burg<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;">Richard Collier as Ed Hawkins<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Roy
Engel as the first driver<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ted Stanhope as the second driver<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Charles Wagenheim as Kaplan<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>John Beraradino as a trooper</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by United Artists<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by Libra Productions,
Inc.</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-70011164514661931312023-11-02T18:18:00.001-04:002023-11-04T10:12:23.996-04:00Suddenly (Part I) (1954): Guns in Postwar America and Ongoing Existential Threats<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The first time that I
saw <i>Suddenly</i>, I was struck by the philosophical themes addressed by the
characters in the film’s dialogue. Seeing it more than once brought the
importance of these themes into sharper focus.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dy8jzmeh-1bwaRodtLJWj7fSWfLLMRjzzTXhizATQ9vQa9wDsQ_ztGnnd4Nx7MUVLQBj-7FdEhTLXRTs5RN-9VhDNoaDRMR68vZPkmygmVVaGqkxXD8D8Q36yURyO9INbzL3r2kXMDuGIJnpsscjQCuS6FOLxySwMrH-yeyCuw7chEen6eSa9tBcAb0c/s975/Suddenly_John%20Baron%20orders%20Ellen%20Benson%20to%20pick%20up%20the%20phone_They%20are%20standing%20in%20the%20kitchen%20of%20%20her%20house..png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="578" data-original-width="975" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dy8jzmeh-1bwaRodtLJWj7fSWfLLMRjzzTXhizATQ9vQa9wDsQ_ztGnnd4Nx7MUVLQBj-7FdEhTLXRTs5RN-9VhDNoaDRMR68vZPkmygmVVaGqkxXD8D8Q36yURyO9INbzL3r2kXMDuGIJnpsscjQCuS6FOLxySwMrH-yeyCuw7chEen6eSa9tBcAb0c/w400-h238/Suddenly_John%20Baron%20orders%20Ellen%20Benson%20to%20pick%20up%20the%20phone_They%20are%20standing%20in%20the%20kitchen%20of%20%20her%20house..png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Suddenly</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> is in the public domain and is available to
watch online for free. Click <a href="https://archive.org/details/Suddenly1954HD" target="_blank">here</a> to see it at the Internet Archive. It’s worth
it, however, to find the DVD published by Film Chest Inc. because it includes
audio commentary provided by Tom Santopietro, author of several books and one
about Frank Sinatra in particular.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film
starts with a vignette explaining the name of the town, Suddenly. Local d</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">eputy sheriff Slim Adams</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> explains
the history of the town to a passing motorist who stops for directions. I found
this dialogue a bit stilted, maybe even unnecessary. The opening credits follow
and appear over different shots of the town of Suddenly; these shots portray
the town as small and sleepy. The visuals behind the credits and the violence
and tension throughout the film would have contrasted sharply enough without
the opening vignette.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOJMXit6LcUetxABzk_LdsGcVOOaHu6VnAC3FiCwbwzGV0oWVtth7E4l-Y339XPMzea11g25Oo73IViT5wjqNyam42CiMqG5vsZ6Ld4WOQKi64B7kMjkkJxunOc-LfCcramFvTBQT89Iz0BV2oRv2FPm_37J53YDl_9ddUx2gUtM5t9mMfzDHHIIaVJuCh/s784/Suddenly_Welcome%20to%20Suddenly_Gold%20first%20discovered%20here%20in%201842.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="784" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOJMXit6LcUetxABzk_LdsGcVOOaHu6VnAC3FiCwbwzGV0oWVtth7E4l-Y339XPMzea11g25Oo73IViT5wjqNyam42CiMqG5vsZ6Ld4WOQKi64B7kMjkkJxunOc-LfCcramFvTBQT89Iz0BV2oRv2FPm_37J53YDl_9ddUx2gUtM5t9mMfzDHHIIaVJuCh/w400-h300/Suddenly_Welcome%20to%20Suddenly_Gold%20first%20discovered%20here%20in%201842.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Peter Benson,
Ellen Benson’s son, nicknamed Pidge, walks down the main street in Suddenly and
stops to admire a toy gun in a shop window. He meets Sheriff Tod Shaw and tells
him that he would really like a gun. Tod Shaw is in love with Pidge’s mother
Ellen. She’s a war widow; her husband Pete was killed fighting in World War II.
She does not want her son to be a victim of violence and doesn’t want him to
have a gun. Tod buys Pidge a toy gun anyway, which angers Ellen Benson when she
discovers what Tod has done.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">This difference
of opinion is one of the factors that set the stage for existential conflicts
about violence and gun ownership. Ellen Benson thinks her husband’s death in
the war was a waste. Her loss and grief about her husband’s death make her
protective of her son Pidge. Pop Benson, Ellen’s father-in-law, thinks his son
would be ashamed that she held this opinion of his willingness to do his duty. (Pop
Benson’s judgment seems a little harsh to me: I’m sure Ellen’s husband would
have understood that his wife and son would miss him.) Tod Shaw and Pop Benson
give the same speech to Ellen about what they see as her overprotecting Pidge. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tod</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> and her
father-in-law think Pidge should be allowed to have a cap gun and that he
should know about injustice and evil in the world so that he will be better
prepared to deal with it. They believe Pidge shouldn’t be sheltered from the
realities and horrors of life. He should be equipped to protect and defend his
home and family. I’m not sure how old Pidge is in the film, but I thought he
was school age and a little young to be pressured into ideas about protecting
his family and country.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">A wire
comes in to the local telegraph office, a top-secret message, that the
president is traveling and intends to stop briefly in Suddenly. Tod Shaw, as
the lead law enforcement official in town, learns of this news and meets with
Secret Service agents about plans for the president’s safety. Pop Benson is a
retired Secret Service agent, and he recognizes one of the agents. He and the
rest of the Benson family soon learn that the president will be passing through
town. One of the Secret Service agents, Dan Carney, used to work for Pop
Benson; Carney is the one to tell </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tod</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> Shaw that they have heard credible reports that
strangers might be in town to assassinate the president.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i style="mso-bidi-font-style: normal;">Suddenly</i> contains spoilers.)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">John
Baron and his two accomplices, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Benny Conklin and Bart Wheeler,
arrive at the Benson residence and pass themselves off as Secret Service
agents, but they really want to use the Benson house because of its strategic
location: It’s perfect to take a shot at the president while he is sitting on
the train. Baron and his men take the Benson family hostage and take over their
home. When Tod Shaw comes to the Benson house with Carney, Carney is shot and
killed, and Shaw is also taken hostage. The fact that the sheriff and the
Secret Service agents are armed and on alert does nothing to protect the Benson
family: They are still taken hostage by men who also have guns.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNSCkM44H5Pglfo9yxWy97aKJDPnRd75Lwf6y4tVqf0v6mbBztVbluudY_MNL2kaClbD_THGE0o7chDncaxdt-Xv5L02H4WZClyA4HLt5YZsebcrOpQjKHF4CG4YnjkJ-P_n3Ya5uSxjHk3rhCr-pHxjQoBz1p7amIK_dyE3B0KzoO4FFyFFCGEBkuTaZ/s781/Suddenly_Ellen%20Benson%20greets%20John%20Baron%20at%20the%20front%20door_Bart%20Wheeler%20and%20Benny%20Conklin%20are%20behind%20John%20Baron.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="781" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNSCkM44H5Pglfo9yxWy97aKJDPnRd75Lwf6y4tVqf0v6mbBztVbluudY_MNL2kaClbD_THGE0o7chDncaxdt-Xv5L02H4WZClyA4HLt5YZsebcrOpQjKHF4CG4YnjkJ-P_n3Ya5uSxjHk3rhCr-pHxjQoBz1p7amIK_dyE3B0KzoO4FFyFFCGEBkuTaZ/w400-h301/Suddenly_Ellen%20Benson%20greets%20John%20Baron%20at%20the%20front%20door_Bart%20Wheeler%20and%20Benny%20Conklin%20are%20behind%20John%20Baron.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Both John
Baron and Tod Shaw are World War II veterans. Baron won a Silver Star and
killed twenty-seven Japanese. Shaw and Baron talk about the difference between
killing in wartime and in peacetime, about winning medals and being given the
chair. According to Baron, the difference between killing in the war and
killing after the war is that he is no longer paid for it. In war, killing is
sanctioned. Learning how to kill became useless after the war unless Baron
could turn to crime and get paid handsomely for it. He maintains that nothing
will change by killing the president because another person will step in to
take his place. But he still wants to commit the murder and be paid for it.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">John
Baron says several things that make his arguments about killing cold and
calculating. He reveals himself to be someone without any morals and with no
respect for life. He says that the first time he killed a man, he felt some
self-respect. He was taught to kill legitimately during wartime and found that
he liked it: “The gun gives you the power of life and death.” At one point,
Baron even talks about his childhood, which does offer a little bit of sympathy
for him, but it’s not enough to excuse his actions as an adult.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tod Shaw
takes a different approach. He uses his skills to defend his town during
peacetime in his job as sheriff. He sees the job as one of self-defense, and he
sees killing otherwise as immoral and criminal. John Baron tells Tod Shaw</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> that his tour in the military was finished and he then returned to the
United States, which wasn’t true during the war. Shaw then realizes that Baron
was court-martialed; even in wartime, Baron apparently crosses a line that the
military refused to tolerate.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4BjdGyEvPDrQpZSDtJeehVdIleIqanqnV0DWbCzEMDP87cv1oopaF1PfZ0WpCHjRqgY3cP1BQ3K75PmJiUCjBJUACq_241pMdX-SWzuAf8XrBVmCBiFzq0PyMdjL3pJeIaf8eQd5tYcMvTyIeH2de1LR_TthEdk3s-O7-YjWJBBkzjvi6SeAK81dZwBCi/s781/Suddenly_Sheriff%20Tod%20Shaw,%20John%20Baron,%20Pop%20Benson,%20Pidge%20Benson_Ellen%20Benson%20is%20sitting%20on%20the%20floor%20near%20Pidge.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="781" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4BjdGyEvPDrQpZSDtJeehVdIleIqanqnV0DWbCzEMDP87cv1oopaF1PfZ0WpCHjRqgY3cP1BQ3K75PmJiUCjBJUACq_241pMdX-SWzuAf8XrBVmCBiFzq0PyMdjL3pJeIaf8eQd5tYcMvTyIeH2de1LR_TthEdk3s-O7-YjWJBBkzjvi6SeAK81dZwBCi/w400-h300/Suddenly_Sheriff%20Tod%20Shaw,%20John%20Baron,%20Pop%20Benson,%20Pidge%20Benson_Ellen%20Benson%20is%20sitting%20on%20the%20floor%20near%20Pidge.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
amount of violence in the film is quite high, and most of it comes from people
having guns. For example, Dan Carney, the Secret Service agent, is killed in
the Benson house, as is </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jud Hobson, the television repair
person, in a separate incident. At the end of the film, Deputy Sheriff Slim
Adams is in critical condition after a shootout with Benny Conklin (but the
deputy sheriff will probably make it). Ellen Benson is the one who shoots </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">John Baron first. She takes Baron by surprise
and incapacitates him with a first shot. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sheriff Tod
Shaw takes the gun from Ellen and shoots John Baron a second time, finally
killing him.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In spite
of their philosophical differences, John Baron and Tod Shaw can relate to one
another because of their war service. The existential threats that the war
posed and that continued to haunt Americans afterward are revealed mostly
through the conversations between these two men. They came away with different
opinions, philosophies, and views of life as a result of those wartime experiences,
but they still share a lot of similarities simply by virtue of what they have
seen during war. Their opposing views seem to represent the postwar malaise in
the United States and the difficulty in coming to terms with the war.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtWl8DiUZMJKWdzNlgZIg2HKm6d7xVwg0u9xFYD5Ihk9nvXkZt_4ZiPOoY9D7Wf6KVx6cSbejeBDLYeCMuAakbxxw8Y_jeQZS4NPAlEE_DLOEh4ADWTiGChIdwAp0Pjdynkzbg302FoWgSBeaUiG04cF92MTGwLl8CxmbLGYVaS-68fVYCIVnTJf8uVh2/s783/Suddenly_Benny%20Conklin%20at%20left%20with%20a%20gun,%20Sheriff%20Tod%20Shaw%20shot%20in%20the%20arm%20and%20Secret%20Service%20Agent%20Dan%20Carney%20dead%20on%20the%20floor.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="783" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtWl8DiUZMJKWdzNlgZIg2HKm6d7xVwg0u9xFYD5Ihk9nvXkZt_4ZiPOoY9D7Wf6KVx6cSbejeBDLYeCMuAakbxxw8Y_jeQZS4NPAlEE_DLOEh4ADWTiGChIdwAp0Pjdynkzbg302FoWgSBeaUiG04cF92MTGwLl8CxmbLGYVaS-68fVYCIVnTJf8uVh2/w400-h300/Suddenly_Benny%20Conklin%20at%20left%20with%20a%20gun,%20Sheriff%20Tod%20Shaw%20shot%20in%20the%20arm%20and%20Secret%20Service%20Agent%20Dan%20Carney%20dead%20on%20the%20floor.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I was struck by the
talk of World War II and the experience of war, and by the philosophical themes
it brought up for many of the characters, even if they wouldn’t have used the
term <i>philosophical themes</i> themselves. These themes start with Pidge’s
desire to have a cap gun and his mother’s reluctance to let him begin to learn
that violence exists in the world.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">I plan to write about
<i>Suddenly</i> again because I want to give some attention to the mother,
Ellen Benson, and her role, however small, in the discussion and (non)resolution
of the gun issue. The role of Ellen Benson also highlights how women were often
portrayed and treated in the 1950s. Some things have changed since the postwar
period, but almost seventy years later, some things remain.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">October 7, 1954, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Lewis Allen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Richard Sale<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by David Raksin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited by John F. Schreyer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography
by Charles G. Clarke</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank
Sinatra as John Baron<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Sterling Hayden as Sheriff Tod Shaw <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>James
Gleason as Peter (aka Pop) Benson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Nancy Gates as Ellen Benson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kim
Charney as Peter (aka Pidge) Benson <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Frees as Benny Conklin <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Christopher Dark as Bart Wheeler<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Willis
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Wexler as Deputy Sheriff Slim Adams <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>James
Lilburn as Jud Kelly (Jud Hobson in the credits)<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kem
Dibbs as Wilson <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Clark Howat as Haggerty <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Charles
Smith as Bebop <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dan White as Desk Officer Burg<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Richard Collier as Ed
Hawkins <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Roy Engel as the first driver <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ted
Stanhope as the second driver <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Charles Wagenheim as Kaplan <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>John
Beraradino as a trooper</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by United
Artists<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced by Libra Productions, Inc.</span></b> <br />Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-34139218653727614692023-10-18T18:36:00.000-04:002023-10-18T18:36:22.511-04:00Army of Shadows (1969)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">When I wrote about
the novel <i>Army of Shadows</i> by Joseph Kessel, which is the basis for the
film, I mentioned that it would take me a while to see the film. Even though I
am writing the blog articles about the novel and the film back-to-back, I
didn’t see the film immediately after reading the novel. The novel is a tough
read; it doesn’t shy away from wartime violence and the hardships endured by
people making life-or-death choices. The film follows the novel quite closely,
and I’m glad I waited a bit to see it.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBX7HqFsmYyZjaBaWnqYt5Lgi4RJjOc47-ftpwm1f_a8DcacNNrhInte8jnYSxmNzQqzLtgV8S4ngE2bN6YRiIKDrUbvX4C2oD14nAEZeqndPclu8a0rjCZO0QHrrcYBEiV2AkNrI7enKaopTiblmTP9Ls4W2Fwy0Ieyx6LXMJUpWD6aAsopo0HybPEzmN/s953/Army%20of%20Shadows_Philippe%20Gerbier,%20looking%20like%20a%20monk,%20writes%20coded%20reports%20to%20send%20to%20London%20from%20his%20hideout%20after%20escaping%20from%20the%20Gestapo%20prison.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="953" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBX7HqFsmYyZjaBaWnqYt5Lgi4RJjOc47-ftpwm1f_a8DcacNNrhInte8jnYSxmNzQqzLtgV8S4ngE2bN6YRiIKDrUbvX4C2oD14nAEZeqndPclu8a0rjCZO0QHrrcYBEiV2AkNrI7enKaopTiblmTP9Ls4W2Fwy0Ieyx6LXMJUpWD6aAsopo0HybPEzmN/w400-h236/Army%20of%20Shadows_Philippe%20Gerbier,%20looking%20like%20a%20monk,%20writes%20coded%20reports%20to%20send%20to%20London%20from%20his%20hideout%20after%20escaping%20from%20the%20Gestapo%20prison.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Click <a href="http://makeminefilmnoir.blogspot.com/2023/10/army-of-shadows-book-1944.html" target="_blank">here</a>
to see my article about the novel <i>Army of Shadows</i>.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film
starts with a shot of l’Arc de Triomphe in Paris, France. A marching parade
starts in the distance, in the far background of the shot. As the marchers and
band get closer to the camera, viewers can see that the marchers are German
soldiers. The sequence ends with a still shot of the soldiers closest to the
camera, and the triumphant band music plays on. The effect is a bit of a shock
even today.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
opening credits appear over a shot of fields in the rain. The date “October 20,
1942,” appears over the image of a truck driving down a road through the fields
after the credits. The truck is carrying a prisoner, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Philippe Gerbier, to an internment camp. But German soldiers or Gestapo
agents are not the ones who are driving. Two French gendarmes (police officers)
are in charge, and they are taking Gerbier to the camp.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIeBGJjkBltZq5UHEq4qC1QGRu62BMWPFL_IAA4KWOuephIJ6Sja9c0svTW_lSHgojf8YjHzQqe7t37ZPJzHOXPdX0nwWP9oJZEueyvrlpin7MXXSy2xyEdUYRosphe2IJVZBG7ib497IH8PH39YZ_u6Kc5zkA9SRhMZPwMxunXHkh71tVQfCgCPetPIV/s1042/Army%20of%20Shadows_Philippe%20Gerbier%20arrives%20at%20the%20internment%20camp%20at%20the%20start%20of%20the%20film_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="1042" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIeBGJjkBltZq5UHEq4qC1QGRu62BMWPFL_IAA4KWOuephIJ6Sja9c0svTW_lSHgojf8YjHzQqe7t37ZPJzHOXPdX0nwWP9oJZEueyvrlpin7MXXSy2xyEdUYRosphe2IJVZBG7ib497IH8PH39YZ_u6Kc5zkA9SRhMZPwMxunXHkh71tVQfCgCPetPIV/w400-h216/Army%20of%20Shadows_Philippe%20Gerbier%20arrives%20at%20the%20internment%20camp%20at%20the%20start%20of%20the%20film_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Once at the internment camp, Gerbier
and another prisoner, a communist named Legrain, start planning an escape. But
Gerbier is taken away by car before the plan can be carried out. Gerbier is
taken to the Hotel Majestic, now the headquarters for German officers. Gerbier
and another prisoner wait in the lobby under the guard of a German soldier.
Gerbier asks the guard something, grabs his knife, and slits his throat. The
other prisoner is off before Gerbier, which actually makes Gerbier’s escape
easier because the other soldiers in the hotel go after the other prisoner
first.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film follows the novel in style:
The narrative cuts from one story to another, sometimes without resolving what
happens to some of the characters. For instance, viewers never know what
happens to the nameless prisoner who escapes the Hotel Majestic at the same
time as Gerbier. Both the novel and the film probably </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">approximate the experience of many, if not all, of the
underground resistance fighters. People come into and go out of their lives,
and they never know what becomes of most of them. The same is true of many of
the characters in the novel, and it happens in the film, too; in the film,
however, viewers sometimes know more than the characters.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9K3afxJb9v0XlPz1S7MUxVOGfU8aDYRyX_XHzfd1g87DZg7B6jRSv5JSdU1LqErrJtriq0AbhaBlHV2Yk6TvrqiQFurE6y0dbMPre6l76f_3XJOWbDwy4HAnOZ9yh6hRGiM2hqg_jYQS6AG8Gjab4qocY4VjkYR4nUwWWZlw9eAnXzzyyzaX7w7lk6G_/s1043/Army%20of%20Shadows_Philippe%20Gerbier%20and%20an%20unknown%20patriot%20are%20guarded%20by%20a%20German%20soldier%20at%20the%20Hotel%20Majestic.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1043" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9K3afxJb9v0XlPz1S7MUxVOGfU8aDYRyX_XHzfd1g87DZg7B6jRSv5JSdU1LqErrJtriq0AbhaBlHV2Yk6TvrqiQFurE6y0dbMPre6l76f_3XJOWbDwy4HAnOZ9yh6hRGiM2hqg_jYQS6AG8Gjab4qocY4VjkYR4nUwWWZlw9eAnXzzyyzaX7w7lk6G_/w400-h216/Army%20of%20Shadows_Philippe%20Gerbier%20and%20an%20unknown%20patriot%20are%20guarded%20by%20a%20German%20soldier%20at%20the%20Hotel%20Majestic.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i>Army of
Shadows</i> contains spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Paul Dounat is a resistance fighter
who has betrayed his fellow fighters. He is the reason Gerbier was imprisoned
in the internment camp in the first place. Dounat is picked up by Gerbier,
Guillaume Vermersch (aka Le Bison), and Félix Lepercq, who take him to a
seaside house in Marseille. Le Bison’s role as driver is finished once he drops
off the other characters. Gerbier and Félix take Dounat to meet Claude Ullmann
(aka Le Masque), who is already in the house. Because the other neighbors would
hear a gunshot, they decide to strangle Dounat. This sequence involving Dounat
is rather long, with discussion between Gerbier, Le Masque, and Félix revealing
how they have come to this decision and then carry it out. Dounat’s murder is a
brutal scene, but there’s a sense that it is excused, even accepted, because of
wartime exigencies.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhv32nMgSQOjM9RSFTvGmmw7ocBrycC1qtCUQnjaVqeWvvNSLKvh0s3hZA7U-h7Tibl_zaM-qLGcikHhcm5Yu2M3b3d_J8yRb0Lv0Kb8LCJeo_BOVrWLeE4B4Bg5t4wzcq1yQPMAgxA-yhnG3vNsJJws2FRLX4fee3jeZ7F_mDKyyr8h9CHV111FxuLfyP/s1044/Army%20of%20Shadows_Paul%20Dounat%20just%20before%20his%20execution_Philippe%20Gerbier,%20F%C3%A9lix%20Lepercq,%20and%20Le%20Masque%20stand%20over%20him..png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="1044" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhv32nMgSQOjM9RSFTvGmmw7ocBrycC1qtCUQnjaVqeWvvNSLKvh0s3hZA7U-h7Tibl_zaM-qLGcikHhcm5Yu2M3b3d_J8yRb0Lv0Kb8LCJeo_BOVrWLeE4B4Bg5t4wzcq1yQPMAgxA-yhnG3vNsJJws2FRLX4fee3jeZ7F_mDKyyr8h9CHV111FxuLfyP/w400-h219/Army%20of%20Shadows_Paul%20Dounat%20just%20before%20his%20execution_Philippe%20Gerbier,%20F%C3%A9lix%20Lepercq,%20and%20Le%20Masque%20stand%20over%20him..png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Félix Lepercq meets Jean-François
Jardie, an old friend, in a bar in Marseilles. Félix requests his help, and Jardie
agrees without knowing any specifics. Back in Lyons, Félix Lepercq meets
Gerbier again. Now, Gerbier is going by the name of Mr. Roussel, and he is
running the Lyon Talent Agency. They have to help eight people escape France
via Gibraltar: Gerbier himself, three Royal Air Force (RAF) officers who were
shot down, two Canadian commandos from Dieppe, and two Belgians sentenced to
death by the Germans. Gerbier tells Félix to take them to the Viellat farm;
Jean-François Jardie is given the job of leading them from the farm to the
beach, where they will row out to a submarine that will take them to England.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Before that assignment, Jean-François
Jardie delivers a transmitter to someone named Mathilde in Paris. While
delivering the transmitter, he escapes detection twice: once by carrying a
toddler for a woman traveling with the toddler and a baby, and thus evading
German agents at the train station, and once by telling French gendarme
inspectors at the same train station that he’s carrying a radio when one of the
gendarmes asks him to open his suitcase. Jean-François thus demonstrates that
he can think quickly and escape detection.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">After delivering the transmitter to
Mathilde in Paris, Jean-François visits his brother, Luc Jardie (aka Saint Luc).
When he leaves again for Marseilles, Jean-François wonders how he and his
brother have grown so far apart; he doesn’t know that Luc Jardie is also
working in the resistance. Viewers don’t know this about Luc Jardie yet either,
and Jean-François never learns this about his brother in the film. Jean-François
returns to complete the assignment of delivering the eight escapees to a
waiting submarine. He must also transport “le grand patron,” the leader of the resistance
(Luc Jardie), but “le grand patron” must be rowed in a separate boat to ensure
his safety. It’s so dark that Jean-François never sees that “le grand patron”
is his brother, but viewers see Luc Jardie’s face once he is on board the
submarine.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The life of the French Resistance
fighters is hardly romantic and most often cut short. Neither the novel nor the
film glorifies their work or their expectations. Félix Lepercq is arrested,
taken off the street, for interrogation. He is tortured and eventually dies
under German arrest. Jean-François Jardie is also captured and tortured,
although in the film, he gives himself up to find out what happened to Félix.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCvG92P9pxLb09o-VPZoh3AVCqiVuXXYiSGtCUzXz9T9dxYGusUY4P0ilPxWbDDC39NWoD50d8Z068lt7Smr0AVuetzpGI-8jkpUlbrPwt2KuAjAyOcRoqrdjVJVvF_zcVDuDc6NRnYLRbXw_Qox3fVWi_ZUMv7AFTaWNr9u1_bDlkmMlYw2Xuw54oBJq/s1045/Army%20of%20Shadows_Jean-Fran%C3%A7ois%20Jardie%20after%20being%20tortured%20by%20the%20Gestapo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="1045" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCvG92P9pxLb09o-VPZoh3AVCqiVuXXYiSGtCUzXz9T9dxYGusUY4P0ilPxWbDDC39NWoD50d8Z068lt7Smr0AVuetzpGI-8jkpUlbrPwt2KuAjAyOcRoqrdjVJVvF_zcVDuDc6NRnYLRbXw_Qox3fVWi_ZUMv7AFTaWNr9u1_bDlkmMlYw2Xuw54oBJq/w400-h216/Army%20of%20Shadows_Jean-Fran%C3%A7ois%20Jardie%20after%20being%20tortured%20by%20the%20Gestapo.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Gerbier is rounded up with others in
a café called Germaine. Mathilde, who is now working closely with Gerbier, had
just left the café. (The audio commentary on the DVD that I watched identifies
the arresting officers as the Milice </span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Française.) </span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">After Philippe Gerbier is taken from the café, he is brought to Gestapo
headquarters and kept chained in a cell with other prisoners. They are to be
executed by firing squad. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">He and
the other prisoners are shackled, and each is led by two S.S. officers to the
rifle range, where they will be shot and killed. Their shackles are removed,
and they are given their instructions: They are allowed to run, and if they
make it behind the stop-butts, they will be spared until the next execution.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">This seems like a good point to introduce a brief list of
definitions. I always seem to find myself in need of a dictionary when I see a
film noir, neo-noir, or any other film from a previous era! Click on each term
for more information from Wikipedia:</span></b></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ <a href="https://en.wikipedia.org/wiki/Maquis_%28World_War_II%29" target="_blank">maquis</a>: </span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">rural
guerrilla bands of French and Belgian resistance fighters, called maquisards,
during the Nazi occupation of France in World War II.</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ <a href="https://en.wikipedia.org/wiki/Milice" target="_blank">la Milice</a>: </span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Milice
Française, generally called la Milice, was a political paramilitary
organization created on January 30, 1943, by the Vichy regime to help fight
against the French Resistance during World War II.</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Gerbier
thinks of Luc Jardie in his final moments. Gerbier is facing a pure existential
crisis, and viewers hear his thoughts in voice-over, the words taken almost
exactly from the novel. He reasons that his refusal to believe that he will die
could mean that he will never really die, a realization that he thinks would
appeal to Luc Jardie. Existentialism is often a feature of film noir, and in <i>Army
of Shadows</i>, existential crises are heightened to the extreme because of
wartime and the almost impossible choices that so many characters are forced to
make. Gerbier escapes his execution because Mathilde, Le Masque, and Le Bison
rescue him, but he still ponders his realizations after his rescue.</span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></span></p>
<p class="MsoNormal"><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Gerbier’s
resistance cell of fighters faces another existential threat when they learn
that Mathilde has been arrested by the Gestapo. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Gestapo
discovered Mathilde’s true identity and her address, and they found a photo of
her daughter that she still carried, the one that Gerbier warned her to get rid
of.</span></b><span class="mw-page-title-main"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> The
Gestapo gave </span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mathilde a choice: name all the contacts
in her network or her daughter would be sent to a whorehouse in Poland.
Gerbier, Luc Jardie, Le Bison, and Le Masque reach the difficult decision to
execute Mathilde themselves. Luc Jardie maintains that Mathilde would want her
friends to kill her. She can’t kill herself, and she can’t refuse to name names
because of what would happen to her daughter. Either way, her daughter would
suffer. In the meantime, she has told the Gestapo that she needs to be released
so she can reestablish contacts. This gives the resistance cell a window of
opportunity, and they take advantage of it.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ty9E_7Rj3v6jFVXMRUlrh7zDBwSHMAWQcx9FJeFLWCAay3AagNiWRGtHfaGQeTTCRrGshu_fYZBcbNp9KB3U29pGcvR4dIoDwLUisY05N-uqCnH5Fs4XcMaImXdF4zx3AwSSgn8NVMKzMA2BbfKZL2Bj904H9fi7ptSNsLrng0Pot2mdR6ZmTEfddb66/s1048/Army%20of%20Shadows_Philippe%20Gerbier%20and%20Mathilde%20eat%20in%20a%20cafe,%20pretending%20not%20to%20know%20one%20another,%20just%20before%20Mathilde%20leaves%20and%20la%20Milice%20raid%20the%20cafe.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="561" data-original-width="1048" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ty9E_7Rj3v6jFVXMRUlrh7zDBwSHMAWQcx9FJeFLWCAay3AagNiWRGtHfaGQeTTCRrGshu_fYZBcbNp9KB3U29pGcvR4dIoDwLUisY05N-uqCnH5Fs4XcMaImXdF4zx3AwSSgn8NVMKzMA2BbfKZL2Bj904H9fi7ptSNsLrng0Pot2mdR6ZmTEfddb66/w400-h214/Army%20of%20Shadows_Philippe%20Gerbier%20and%20Mathilde%20eat%20in%20a%20cafe,%20pretending%20not%20to%20know%20one%20another,%20just%20before%20Mathilde%20leaves%20and%20la%20Milice%20raid%20the%20cafe.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">As I said, the novel is a tough
read, and the film is tough to watch. Melville doesn’t glorify his main
characters, and there is nothing romantic about the tasks they set out for themselves
to oppose the German occupation of their country. I found myself rooting for
them, even though their lives were harsh and I hoped I never had to face some
of the decisions they had to make. <br /></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I watched
the film on a DVD published by the Criterion Collection, and it came with audio
commentary by film historian Ginette Vincendeau. Listening to her commentary is
well worth the time because she provides lots of background information that
many viewers, especially non-French citizens, would probably never get
otherwise. I list here just a few details from the commentary, including
Vincendeau’s noted differences between the film and the novel, but this list just
scratches the surface:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Communists and Catholics
working together during the war, in spite of philosophical differences, was
common knowledge. </span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">This
was true in Roberto Rossellini’s film <a name="_Hlk131081490"><i>Rome: Open
City</i></a> (</span></b><b style="mso-bidi-font-weight: normal;"><i><span lang="IT" style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: IT;">Roma città aperta</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">) (1945), where Communists and Catholics
worked together in the Italian Resistance. Rossellini’s film is also fictional,
but it was filmed in a semidocumentary style on location in Rome while the city
was still under German occupation.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Melville used Kessel’s novel
as the basis for the film, but he made many changes. Melville’s film emphasizes
pessimism and abstraction. He aims to portray the spirit of the resistance
movement rather than details and specific spectacular actions. Abstraction and
minimalism are part of Melville’s style, especially evident in the scenes
depicting the internment camp.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In the novel, Gerbier
escapes from the internment camp. In the film, he is taken away by the Gestapo.
The film emphasizes fatality and disillusionment. Human endeavor is negated
arbitrarily by fate.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The move to Marseilles for
the meeting about Paul Dounat’s abduction is one of the few sunny sequences in
the film. Dounat is responsible for Gerbier’s imprisonment because he told what
he knew to the Germans. In the novel, Kessel talks about Dounat’s fear,
remorse, and reasons for betrayal. Melville concentrates on the betrayal.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Melville withholds Luc Jardie’s identity from his
brother Jean-François, which wasn’t the case in Kessel’s novel.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">La Milice was a military police force created by the
Vichy government. They liked to take people by surprise and to abduct them in
public places.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDx8Y7bPjtHJKC-m-vG38GekntwOsoIiOCXbgu2_uQ-FRAAHU2lklt3g9rHT6_llWijVNfy0oafkkj8hHeJJ4QwIdIeZgLPrwYH0a5bIV_4ahyGhObGQN-JE3ymPjIrfbeeOZERYCL-TpO2BYJsNV2aubXyZI5WxStbDJ6rwgR_AhJsdbQ5VjqFGFVLc3/s1037/Army%20of%20Shadows_Philippe%20Gerbier,%20Luc%20Jardie,%20and%20Le%20Bison%20discuss%20the%20killing%20of%20Mathilde%20before%20she%20can%20give%20their%20names%20to%20the%20Gestapo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="1037" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDx8Y7bPjtHJKC-m-vG38GekntwOsoIiOCXbgu2_uQ-FRAAHU2lklt3g9rHT6_llWijVNfy0oafkkj8hHeJJ4QwIdIeZgLPrwYH0a5bIV_4ahyGhObGQN-JE3ymPjIrfbeeOZERYCL-TpO2BYJsNV2aubXyZI5WxStbDJ6rwgR_AhJsdbQ5VjqFGFVLc3/w400-h219/Army%20of%20Shadows_Philippe%20Gerbier,%20Luc%20Jardie,%20and%20Le%20Bison%20discuss%20the%20killing%20of%20Mathilde%20before%20she%20can%20give%20their%20names%20to%20the%20Gestapo.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Army of Shadows</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is almost two and a half hours long, so it’s quite an investment of
time. It’s twice that length of time if you plan to listen to the audio
commentary, too. It’s well worth it, however, for fans of noir. I have
developed an appreciation for the historical background that forms the basis
for many films noir and noir literature; <i>Army of Shadows</i> (both the novel
and the film) would be of interest for history fans, too, whether or not they
are interested in noir in particular.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">September
12, 1969 (France), October 6, 1970 (Italy), release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Jean-Pierre Melville<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Jean-Pierre Melville<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based
on the novel <i>Army of Shadows</i> by Joseph Kessel<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by Éric Demarsan<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited by Françoise Bonnot<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography
by Pierre Lhomme</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lino Ventura as Philippe Gerbier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Meurisse as Luc Jardie (aka Saint Luc)<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Jean-Pierre Cassel as
Jean-François Jardie •<span style="mso-spacerun: yes;"> </span>Luc’s younger
brother <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Simone Signoret as Mathilde <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Claude
Mann as Claude Ullmann (aka Le Masque) <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul Crauchet
as Félix Lepercq <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Christian Barbier as Guillaume Vermersch (aka
Le Bison) <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Serge Reggiani as the barber<span style="mso-spacerun: yes;"> </span>• <span style="mso-spacerun: yes;"> </span>André
Dewavrin (aka Colonel Passy) as himself, an official of the Free France
intelligence services based in London <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alain
Dekok as Legrain <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alain Mottet as the commander of the
internment camp <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alain Libolt as Paul Dounat <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jean-Marie
Robain as Baron de Ferté-Talloire<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Albert Michel as the gendarme who escorts
Gerbier to the internment camp <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Denis Sadier as the doctor at the Gestapo
headquarters in Lyon <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Georges Sellier as Colonel Jarret du Plessis <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Marco
Perrin as Octave Bonnafous <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Hubert de Lapparent as Aubert <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Colin
Mann as the British Royal Air Force (RAF) soldier <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Anthony
Stuart as an RAF major <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Michel Fretault as the “anonymous patriot”
who escapes with Gerbier in Paris <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Michel Dacquin as one of Gerbier’s cellmates <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jeanne
Pérez as Marie, Luc’s maid <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Pierre Vaudier as the man at the antique shop
<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Jacques Marbeuf as the lead interrogator at the Gestapo headquarters in
Lyon <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Marcel Bernier as the customs agent</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Valoria Films (France), Fida Cinematografica (Italy)<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced
by Les Films Corona, Fono Roma</span></b> <br />Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-72327635444067891072023-10-05T18:43:00.000-04:002023-10-05T18:43:54.525-04:00Army of Shadows (Book) (1944)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
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</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinmpYXY_nNfLUSrsRVWOU6Z9re-dsUHyAOO3FJ9P5A0MVrKKmjg_TmWIJoqAN5XppJd9Kz0qOl5PsHPBO4BRliyBbAW5dNYWwUb8FTuPn2_N43cSnXJFUu1Cm_XeKhbpEYOG1l1y6vD4b-azQ9MNbkNRYFIzEAbBunuFdP1H5JeRj5UiC-9Q4GW1F5ZVXr/s600/Army%20of%20Shadows_L'armee%20des%20ombres,%20by%20Joseph%20Kessel.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="370" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinmpYXY_nNfLUSrsRVWOU6Z9re-dsUHyAOO3FJ9P5A0MVrKKmjg_TmWIJoqAN5XppJd9Kz0qOl5PsHPBO4BRliyBbAW5dNYWwUb8FTuPn2_N43cSnXJFUu1Cm_XeKhbpEYOG1l1y6vD4b-azQ9MNbkNRYFIzEAbBunuFdP1H5JeRj5UiC-9Q4GW1F5ZVXr/w246-h400/Army%20of%20Shadows_L'armee%20des%20ombres,%20by%20Joseph%20Kessel.png" width="246" /></a></div><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Army of Shadows</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is a difficult read, even though it’s only 159 pages in
a small trim size. It is a fictionalized account of a band of resistance
fighters opposing the German occupation of France during World War II, but it
is based on enough fact to make it a story that one probably doesn’t read for
enjoyment. The author, Joseph Kessel, fought in the French Resistance, and he
based his fictional account on an amalgam of personal experiences and the
reports of other resistance fighters.</span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">For very
brief online biographies of Joseph Kessel, click on each of the following:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊
<a href="https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/kessel-joseph">Encyclopedia.com</a></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊
<a href="https://en.wikipedia.org/wiki/Joseph_Kessel" target="_blank">Wikipedia</a></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><a name="_Hlk130988517"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The narrative uses
multiple points of view to tell its story. Each chapter is like a stand-alone
vignette, with each connected by theme and several characters who come into and
out of the action.</span></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> One chapter, “ ‘These
People Are Wonderful,’ ” is told from the first-person point of view of a
character who is never identified, but it is a way to bring in two other characters,
Luc Jardie and Philippe Gerbier, both of whom are major characters, from
another point of view. Philippe Gerbier, in particular, connects all the
chapter stories, even if his appearance in some of the chapters is tangential.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The writing style
probably approximates the experience of many, if not all, of the underground
resistance fighters. People entered and exited their lives, and they never knew
what became of most of them. The same is true of many of the characters in the
novel. The unidentified narrator is never given a name and appears in the novel
in only one chapter.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">(This article about
the novel <i style="mso-bidi-font-style: normal;">Army of Shadows</i> contains
spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The chapter called
“Philippe Gerbier’s Notebook” is the </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">longest section of the novel. Because Gerbier is high
in command among the resistance fighters, he receives reports of other
fighters’ arrests and successes and helps formulate plans to continue the work.
At one point, fourteen resistance leaders meet to discuss strategy. It is
dangerous to meet like this, with so many leaders in one place, but they need
to coordinate the work and thus avoid duplication and putting even more fighters
in danger. A coherent strategy becomes increasingly important because the
Germans are spending more and more time in France learning the terrain and the
people. During the meeting, Luc Jardie, given the nickname Saint Luc by his
brother Jean-François, another resistance fighter, gets up to address the
others. He is the chief, the one who gives the orders above all others. He uses
the term “army of shadows,” which becomes the title of the novel, in his speech
to the attendees.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">. . . And
Saint Luc said further, “We are only fourteen, but we are borne up by thousands
and probably by millions of men. To protect us combat groups are watching all
the approaches that lead to this retreat, and will die before they let anyone
get to us. Yet no one here feels pride or even a sense of power. We know that
our soldiers change their names a hundred times and that they have neither a
shelter nor a face. They move in secrecy, wearing shapeless shoes, on roads
without sunlight and without glory. We know that this army is hungry and pure,
that it is an army of shadows—the miraculous army of love and misfortune. And I
have become conscious here of the fact that we are only the shadows of those
shadows and the reflection of that love and the misfortune. . .” (page 132)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">It's easy for the
other resistance leaders and the fighters under them to put Luc </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jardie</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> on a
pedestal. He is even introduced in somewhat biblical terms (“And Saint Luc said
further”). But I found this character to be the most problematic, the most
ambivalent in terms of relatability. In the chapter called “ ‘These People
Are Wonderful,’ ” the unnamed narrator meets Luc </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jardie</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> at a
dinner in London, but he doesn’t know who he is. When he sees Philippe Gerbier,
whom he does know, toward the end of the evening, he finally learns the man’s
identity. By that time, the unnamed narrator is amazed by Luc </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jardie</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">’s love
of humanity, his compassion, and his fortitude. But Luc </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jardie</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is
also ruthless. One could say that he has to be because he and his fighters are
pitted against the German Gestapo and S.S. The resistance fighters under Luc </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Jardie</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">’s
command idolize him, but it’s not quite so easy to understand for readers almost
eighty years later.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">In the chapter titled
“The Rifle Range,” </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Philippe
Gerbier is one of seven prisoners sentenced to death, and he thinks of Luc
Jardie in his final moments. He and the other prisoners are shackled, and each
is led by two S.S. officers to the rifle range, where they will be shot and
killed. When they arrive at the range outside, the shackles are removed, and
they are given their instructions. They are allowed to run, and if they make it
behind the stop-butts, they will be spared until the next execution. Gerbier is
facing a pure existential crisis, and readers hear his thoughts during what
could be his last waking moments.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“And I am going to die . . . and
I am not afraid. It’s impossible not to be afraid when one is going to die. . .
. It is because I am too limited, too much of an animal to believe it. But if I
don’t believe it till the last moment, till the ultimate limit, I shall never
die. . . . What a discovery! And how it would appeal to the chief [Luc Jardie].
I must go into this more deeply . . . . I must . . .” (page 142)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><a name="_Hlk130988465"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Existentialism
is often a feature of film noir, and in <i>Army of Shadows</i>, existential
crises are heightened to the extreme because of wartime and the almost
impossible choices that so many characters are forced to make every day.</span></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The last
chapter, “Mathilde’s Daughter,” shows Luc Jardie’s resolve and his
ruthlessness, which are necessary given the conditions the resistance leaders
face under German occupation. Philippe Gerbier is already in hiding, and he
receives news that one of the resistance fighters, a woman named Mathilde, has
been released after being imprisoned by the Germans. She divulged names and
addresses in exchange for her own release and for her daughter’s safety, but
she has now become a liability for the resistance. Luc Jardie decides that Mathilde
must be “liquidated,” and she is shot and killed soon after.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The copy of the novel
that I read was published in 1944, and even though it was hardbound, the
binding was falling apart and the pages seemed to be disintegrating in my
hands. Still, I love reading novels that are not reissues because they bring me
back more readily to their historical period. World War II was still being
fought in 1944, and the copyright page includes a blurb that was probably
typical of the time: “This book has been produced in full compliance with all
government regulations for the conservation of paper, metal, and other
essential materials.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The cultural and time
differences also mean that there is some vocabulary that modern readers may not
understand. I include here a short list of definitions that I needed to look up
online, but don’t be surprised if you decide to read the novel and find
yourself looking up a lot more words! Click on each term to learn more about
the source of the definition.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
<a href="https://www.dictionary.com/browse/boche" target="_blank">Boche</a>:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> A contemptuous term for a
German, especially a German soldier in World War I or World War II.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
<a href="https://en.wikipedia.org/wiki/Francs-tireurs" target="_blank">f</a></span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"><a href="https://en.wikipedia.org/wiki/Francs-tireurs" target="_blank">rancs-tireurs</a>:</span></b></span><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> Irregular military formations deployed by France during
the early stages of the Franco-Prussian War. The term was revived and used by
partisans to name two major French Resistance movements set up to fight against
the Germans during World War II. </span></b></span></p>
<p class="MsoNormal"><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"><a href="https://en.wikipedia.org/wiki/9%C3%9719mm_Parabellum" target="_blank">Parabellum</a>:</span></b></span><span class="js-about-item-abstr"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> The 9 × 19 mm
Parabellum is a rimless, tapered firearms cartridge. Originally designed by
Austrian firearm designer Georg Luger in 1901. </span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Army of Shadows</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> was released as a film in 1969. I wanted to see it after
reading the book, but it took me a while before I was ready. Some of the images
that came to mind when reading about certain events in the novel are hard to
forget, and I wanted the memories of them to disappear—or at least to fade a bit—before
I tackled the film. I did finally see it, and I will be writing about it next.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Army of
Shadows</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">, by
Joseph Kessel<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>New York: Alfred A. Knopf, 1944<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Translated
from French by Haakon Chevalier</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">List of
main characters:</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Philippe
Gerbier, aka André Roussel<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Felix La Tonsure<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Claude
Lemasque<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Guillaume, aka the Bison<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jean-François<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Luc
Jardie, aka Saint Luc, “the chief”<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Mathilde</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The image of the front
cover is from the French edition published in Algeria and in France. The page
references in this article refer to the Alfred A. Knopf edition listed above.</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-69074533053745159542023-09-22T20:06:00.000-04:002023-09-22T20:07:01.472-04:00The Third Man (1949)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwVk7gw5MqgR41LosULITaPBd-SXA9jij8D_Z2o2I5IzEOTwbElHhUjeNFeg8OA5OTf-giIOGHghFYsEnyesSDzuUF-_i0gvo3s83o1wcI7j9oFqDl2uS_Pibhy058s1PqZyJcxNM6ESqLjyGdEfxkXWplvzyXTpEhKgBNlYXLmsgV78v3dGYcBd1oWfS9/s728/The%20Third%20Man_Close-up%20of%20Holly%20Martins%20as%20he%20considers%20shooting%20an%20injured%20Harry%20Lime%20in%20the%20Vienna%20sewer%20system_Martins%20does%20shoot.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="581" data-original-width="728" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwVk7gw5MqgR41LosULITaPBd-SXA9jij8D_Z2o2I5IzEOTwbElHhUjeNFeg8OA5OTf-giIOGHghFYsEnyesSDzuUF-_i0gvo3s83o1wcI7j9oFqDl2uS_Pibhy058s1PqZyJcxNM6ESqLjyGdEfxkXWplvzyXTpEhKgBNlYXLmsgV78v3dGYcBd1oWfS9/s320/The%20Third%20Man_Close-up%20of%20Holly%20Martins%20as%20he%20considers%20shooting%20an%20injured%20Harry%20Lime%20in%20the%20Vienna%20sewer%20system_Martins%20does%20shoot.png" width="320" /></a></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">According to the
<a href="https://www.bfi.org.uk/lists/bfi-player-classics-film-noir" target="_blank">British Film Institute</a>, <i>The Third Man</i> is one of the “five essential
British film noirs.” Its website also notes that <i>The Third Man</i> is often
“voted the best British film.” The screenplay by British novelist Graham Greene
was based on the story that he wrote specifically to be used for the film (more
about this later). It is a film noir that I think could convince anyone who
says that they don’t like classic and/or black-and-white films to change their
minds—it really is that good. And all that makes it a good choice for the Tenth
Annual Rule, Britannia Blogathon hosted by Terry Canote at his blog, <a href="https://mercurie.blogspot.com/" target="_blank">A Shroud of Thoughts</a>.<br /></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The film is
introduced by a voice-over narrator. He could be one of Harry Lime’s friends
and fellow black marketeer. The narrator explains that he</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> came to Vienna after World War II, and he
implies that he is a professional black marketeer: “Course, a situation like
that does tempt amateurs but, you know, they can’t stay the course like a
professional,” this said over a shot of a body floating presumably in the
Danube River. The narrator also explains a little bit about the situation in
Vienna: how all the Allied forces (United States, England, France, and Russia)
were in charge of governing what is now an occupied city. And he introduces the
arrival of Holly Martins, who is planning to stay with his childhood friend
Harry Lime.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">See the
credits for more about the narration at the start of the film; the DVD version
from the Criterion Collection that I watched included the version narrated by
Carol Reed.</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Once the
introduction is over, the narrative begins with American Holly Martins’s arrival
in postwar Vienna. He</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> has been invited to the
city by Harry Lime. Martins writes pulp Westerns, but he doesn’t make enough
money at it, so Lime’s proposal that he come to Vienna and write about the situation
there sounds promising. When he arrives at</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> the front door of Harry Lime’s apartment, he is told
by Karl, the building’s porter, that Lime is dead. In fact, Martins just missed
the coffin, which is heading to the cemetery for burial. Martins rushes to the
cemetery in disbelief.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> At the gravesite, he
meets British Major Calloway, who tells him that Lime is better off dead
because he was facing serious criminal charges. Martins scoffs at this and
decides to prove Major Calloway wrong by finding the real criminal. Martins’s subsequent
(mis)adventures in Vienna are the basis for the film’s plot.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">(This article about <i>The
Third Man</i> contains spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Third Man</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is much more than a whodunit or a postwar crime story.
It has a fantastic soundtrack involving a Viennese musician,</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> Anton Karas</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">,
playing his zither, and the effect is a perfect complement to the action on-screen.
At the time the film was being produced, the director Carol Reed didn’t know
what a zither was, and it is quite possible many people outside Austria didn’t
either. He saw a musician playing the instrument in a café and decided that
both were perfect for the soundtrack. The music evokes a whimsical quality that
manages to underscore, not detract from, the action. By the end of the film,
after almost two hours of zither music, it begins to grate on the nerves, if
I’m honest. But maybe that’s the point: Holly Martins’s adoration of Harry Lime
is starting to grate on Martins’s nerves!</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9E4mWVkMlctNg8BEdWEkv0j5F-rps4uYbu5wjJ6yNXv7j-M0PgrBSNjHuIUP8_CJMMVQ1yl-9S6kIqkEC68LIA9CgnqfhS_wxFMv7AyGWOXKFK58jL6UEWSbQwxm7prRANE4o4Khu_z2x8HohZmHwH6vq6FV78Aob8YApXj8-R8Sdv10QoNrYNSKJx0lm/s814/The%20Third%20Man_Anna%20Schmidt%20and%20Holly%20Martins%20talk%20in%20her%20apartment%20about%20her%20ID%20papers%20after%20the%20police%20have%20raided%20her%20apartment.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="814" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9E4mWVkMlctNg8BEdWEkv0j5F-rps4uYbu5wjJ6yNXv7j-M0PgrBSNjHuIUP8_CJMMVQ1yl-9S6kIqkEC68LIA9CgnqfhS_wxFMv7AyGWOXKFK58jL6UEWSbQwxm7prRANE4o4Khu_z2x8HohZmHwH6vq6FV78Aob8YApXj8-R8Sdv10QoNrYNSKJx0lm/w400-h304/The%20Third%20Man_Anna%20Schmidt%20and%20Holly%20Martins%20talk%20in%20her%20apartment%20about%20her%20ID%20papers%20after%20the%20police%20have%20raided%20her%20apartment.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizprPy2xG0tHExSSnMIvrdvPxeWBDzxV6iAgsJ5j5kYas59ksEmHQmHxTSFdJDZa8KUljAy92dazLG4ZUsliZ05TUaarnNv7FuWzbQLT3eBWN-b6y5fyX1Hafoaf1m41-OCxn3eMKbQVyYm90Rsr1NjU3MMikBQXM02KtTNoQlRn7DzNfCtwLSxrbLwCUU/s765/The%20Third%20Man_Hansl%20chases%20after%20Anna%20Schmidt%20and%20Holly%20Martins%20after%20the%20porter%20at%20Harry%20Lime's%20building%20is%20found%20dead%20inside%20it..png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="765" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizprPy2xG0tHExSSnMIvrdvPxeWBDzxV6iAgsJ5j5kYas59ksEmHQmHxTSFdJDZa8KUljAy92dazLG4ZUsliZ05TUaarnNv7FuWzbQLT3eBWN-b6y5fyX1Hafoaf1m41-OCxn3eMKbQVyYm90Rsr1NjU3MMikBQXM02KtTNoQlRn7DzNfCtwLSxrbLwCUU/w400-h306/The%20Third%20Man_Hansl%20chases%20after%20Anna%20Schmidt%20and%20Holly%20Martins%20after%20the%20porter%20at%20Harry%20Lime's%20building%20is%20found%20dead%20inside%20it..png" width="400" /></a></div></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">In spite of the
numerous noir elements (betrayal, murder many times over, chiaroscuro lighting,
tilted camera angles, postwar angst and rubble), the film has several humorous
moments.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> For
example, Crabbin of the British Cultural Center, the propaganda arm of the
British government in Vienna, mistakes Martins for another British novelist.
Crabbin corrals Martins into giving a talk on the modern novel, but Martins
isn’t prepared for an intellectual discussion about James Joyce and the stream
of consciousness as a writing technique. Other examples include the fact that
Harry Lime’s girlfriend, Anna Schmidt, is still in love with Harry; she can
never remember Holly’s name and calls him Harry throughout, much to Martins’s
frustration. (He imagines instead that he will be able to seduce Schmidt
eventually.) When Karl, the porter in Harry Lime’s apartment building is
murdered, Hansl, a boy of about five years old and the son of one of Lime’s
neighbors, points the finger at Holly Martins when he arrives on the scene with
Anna Schmidt. Hansl leads the charge when the neighbors pursue Martins and
Schmidt. Major Calloway has several humorous lines in his dealings with Martins.
He describes him as a man easy to murder, and he wants him out of Vienna so
that he is not responsible for Martins’s death.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">When
Holly Martins learns that Harry Lime is actually alive, he arranges a meeting
with him at Prater Park. The meeting is tense: Martins worries about Lime’s
possible culpability and betrayal; Lime worries that Martins has talked to the
police about his black market activities. But neither is ready to distrust the
other one completely, not yet anyway. In this scene, Harry Lime delivers some
of his most famous lines: “. . . In Italy, for thirty years under the Borgias,
they had warfare, terror, murder, and bloodshed. But they produced
Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland, they had
brotherly love. They had five hundred years of democracy and peace, and what
did they produce? The cuckoo clock. [slight pause] So long, Holly.” Orson
Welles, as Harry Lime, apparently added the line about the cuckoo clock. It
adds a humorous note and thus relieves a little of the tension between Lime and
Martins.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In the
postwar period, the comparison between Swiss democracy and Italy under the
Borgias probably sounded incongruous, as Lime intended. But it sounds a little
less incongruous in 2023 after more has come to light about the secrecy and
corruption in the Swiss banking system. (Click <a href="https://en.wikipedia.org/wiki/Banking_in_Switzerland" target="_blank">here</a> for some information about Swiss
banking practices at Wikipedia.)</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXND4aNf98NymT93wCKeO_OUkh-dk5nLCPeXP3_xwViHKcxZES4JZsOzuDZsGRt7nJdQffPWAFfroorJ0UBSk3GF7NaIPIp-UZH46aUWggyfCJmWDk6iJUctIdfFakTaldf65vs7KJYp_4yBMUkSwG6XLyRqGecJDjr7b5JaQj_9gCAqGqi9kiRJaBnHQ1/s757/The%20Third%20Man_Holly%20Martins%20and%20Harry%20Lime%20leave%20the%20ferris%20wheel%20after%20talking%20about%20what%20the%20police%20know.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="757" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXND4aNf98NymT93wCKeO_OUkh-dk5nLCPeXP3_xwViHKcxZES4JZsOzuDZsGRt7nJdQffPWAFfroorJ0UBSk3GF7NaIPIp-UZH46aUWggyfCJmWDk6iJUctIdfFakTaldf65vs7KJYp_4yBMUkSwG6XLyRqGecJDjr7b5JaQj_9gCAqGqi9kiRJaBnHQ1/w400-h308/The%20Third%20Man_Holly%20Martins%20and%20Harry%20Lime%20leave%20the%20ferris%20wheel%20after%20talking%20about%20what%20the%20police%20know.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Third
Man</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> was shot
on location in Vienna amid the rubble of World War II and in the underground
sewer system, where Harry Lime maneuvers his way from one part of the occupied
city to another. It’s another example of a postwar rubble film, but it’s easy
to forget that Vienna is in ruins while watching Holly Martins trying to prove
British Major Calloway wrong about Lime; it’s so easy to get caught up in the
story and lose sight of the bombed-out buildings and the postwar poverty and
desperation.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I’ve
written articles about other rubble films. Click on each film title in the list
below to read them.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ <i><a href="http://makeminefilmnoir.blogspot.com/2023/07/the-search-1948.html" target="_blank">The Search</a></i> (1948)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ <i><a href="http://makeminefilmnoir.blogspot.com/2023/07/berlin-express-1948.html" target="_blank">Berlin Express</a></i> (1948)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ <i><a href="http://makeminefilmnoir.blogspot.com/2023/07/the-murderers-are-among-us-1946.html" target="_blank">The Murderers Are Among Us</a></i> (1946)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">These
three films are just a few examples of many rubble films.</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">As I mentioned, British
novelist Graham Greene wrote the screenplay, which was based on a story he
wrote specifically to be used as the basis for the film. In the preface to the
novel, Greene explains his reasoning for writing the story as a work of fiction
first and how changes between the written word and the film came about. It’s an
interesting read if you are anything like me: someone who enjoys both
literature and film. For something that was never intended to be published in
written form, the novel is quite an accomplishment, and it provides some
background for the characters. The novel is told from Major Calloway’s point of
view (he is a colonel in the novel). Throughout the novel, he reviews the police
files about Harry Lime and his interviews with Holly Martins (Rollo Martins and
a British citizen in the novel). He tells readers what he knows from his own
investigation.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWjsmxMZJvFVHpbRpws6ThA1-J0F4rwEO3HYRSKZTOKGi7fmvbRKP6YgNsMbgdGCLZbzOOuYn4J4oYFJC7FSyg1Xf2QlbPFWogvhKyWjnjPMAqALiYlar9uNl9J4UJ3VISNXE5_xZw4aVZAB-DfeZVjAF_wEglQZTvVLvPpbtAmgHtbLC4E1FpE-rfNm9/s765/The%20Third%20Man_Sergeant%20Paine,%20Holly%20Martins,%20and%20Major%20Calloway%20when%20Calloway%20realizes%20Martins%20is%20telling%20the%20truth%20about%20seeing%20Harry%20Lime%20and%20that%20Lime%20escaped%20through%20a%20sewer%20entrance.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="580" data-original-width="765" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWjsmxMZJvFVHpbRpws6ThA1-J0F4rwEO3HYRSKZTOKGi7fmvbRKP6YgNsMbgdGCLZbzOOuYn4J4oYFJC7FSyg1Xf2QlbPFWogvhKyWjnjPMAqALiYlar9uNl9J4UJ3VISNXE5_xZw4aVZAB-DfeZVjAF_wEglQZTvVLvPpbtAmgHtbLC4E1FpE-rfNm9/w400-h304/The%20Third%20Man_Sergeant%20Paine,%20Holly%20Martins,%20and%20Major%20Calloway%20when%20Calloway%20realizes%20Martins%20is%20telling%20the%20truth%20about%20seeing%20Harry%20Lime%20and%20that%20Lime%20escaped%20through%20a%20sewer%20entrance.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">But it was Major
Calloway’s speech to readers at the end of the novel that started me thinking. In
that speech, he describes Martins as follows:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> “He was a very bad shot and a very bad judge of
character . . .” (page 157). I started to wonder how Martins managed to be such
a bad shot during wartime. Wasn’t he conscripted and taught to shoot during
military training? Or was he hesitant about shooting Harry Lime in the end
because he still felt some nostalgia for their friendship? Graham Greene never
says.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxooPd543Br3-B5itienbRmAbdUH3iEciA68hO3zKMQq2Phnh9DTdumSvlZzJH8yiJ3wXLh1eat4rsn-VPhlLv1iZP0momhRWA6tfoiibe6qe3CL7UJX-Ys99CnRSG6Vc8BC6ignJDo-mRRdaZkWAhC7Pw6U5nZfeb2kOIL9n2fgCZlK_H-Vy7OELK6Jdn/s498/The%20Third%20Many,%20by%20Graham%20Greene.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="498" data-original-width="327" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxooPd543Br3-B5itienbRmAbdUH3iEciA68hO3zKMQq2Phnh9DTdumSvlZzJH8yiJ3wXLh1eat4rsn-VPhlLv1iZP0momhRWA6tfoiibe6qe3CL7UJX-Ys99CnRSG6Vc8BC6ignJDo-mRRdaZkWAhC7Pw6U5nZfeb2kOIL9n2fgCZlK_H-Vy7OELK6Jdn/s320/The%20Third%20Many,%20by%20Graham%20Greene.png" width="210" /></a></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">During
the war, Harry Lime probably went away without leave (AWOL)—if he was
conscripted at all. But giving what I know about World War II military service
and trying to avoid it, I would assume that Lime was drafted and just decided
to go AWOL. And if he were successful at avoiding being caught by the military
police (because they made it a point to catch all dodgers and apparently were
very, very good at it), he probably wouldn’t have had much choice but to go
into the wartime black market. Greene never explains this part of Lime’s
background, and it was never addressed in either the film or the novel for him
or for Holly Martins. </span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I saw the
film several times <i>and</i> read the novel before I wondered at all about
Holly Martins’s and Harry Lime’s backstories. I mention these points only
because they gave me a new appreciation for the film’s story: I cannot call
them flaws because I never would have noticed them without reading the novel. <i>The
Third Man</i> deserves all its accolades. It’s a great story and a
black-and-white classic.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">This
article about <i>The Third Man</i><i style="mso-bidi-font-style: normal;"> </i>is
my entry for the Tenth Annual Rule, Britannnia Blogathon, hosted by Terry at
his blog, A Shroud of Thoughts. Click <a href="https://mercurie.blogspot.com/2023/09/the-10th-annual-rule-britannia.html" target="_blank">here</a> for a day-by-day list of links to
their blogs. The list is updated each day of the blogathon, from September 22
to 24.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">September
2, 1949, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Carol Reed<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by Graham Greene<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on a story by Graham Greene<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by Anton Karas<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited by Oswald Hafenrichter<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography
by Robert Krasker</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Joseph Cotten as Holly Martins <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alida
Valli as Anna Schmidt <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Orson Welles as Harry Lime<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Trevor
Howard as Major Calloway <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bernard Lee as Sergeant Paine<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Wilfrid
Hyde-White as Crabbin <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Erich Ponto as Dr. Winkel <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ernst
Deutsch as “Baron” Kurtz <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Siegfried Breuer as Popescu <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Hörbiger as Karl, Lime’s apartment porter<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Hedwig Bleibtreu as Anna’s
landlady <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Robert Brown as British military police
officer in sewer chase <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alexis Chesnakov as Brodsky <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Herbert
Halbik as Hansl <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul Hardtmuth as the hall porter at Hotel
Sacher <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Geoffrey Keen as British military police officer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Eric
Pohlmann as waiter at Smolka’s <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Annie Rosar as the porter’s wife <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joseph
Cotten as the narrator (pre-1999 U.S. version) <span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Carol
Reed as the narrator (pre-1999 UK and all post-1999 versions)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by British Lion Film Corporation (United Kingdom), Selznick
Releasing Organizations (United States)<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by London Films</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com7tag:blogger.com,1999:blog-9001384737868808902.post-10735027199390257142023-09-01T18:02:00.000-04:002023-09-01T18:02:45.360-04:00Le boiteux (Baby Blues) (1999)<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">At one point in <i>Le boiteux</i>, Lieutenant Jacques
Déveure tells his girlfriend, “I don’t know what’s in my heart, Louisa.” Louisa
has already accused Déveure of being unable to commit to her because he is
obsessed with Albertin, a criminal who shot him in the ankle three years
earlier, giving him a permanent limp (and hence the title of the film in French;
the title in English is not a direct translation). By this point in the film,
Louisa is exasperated with Déveure. She tells him, “I’m supposed to know, am I?
Is that it? I’m supposed to know. [pause] I get the impression that it’s not a
pretty sight, inside that heart of yours.”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIZ3TXqGXOjvKiNDMGuT1X5DOlWwamsEM_fQYSCV8TteSwlXXChKJQZpCYkFgIt7IQgIyY0TMUMd3H-_IefC0UDFF1B3D4NltjL9OaZ4fMK-7gh-G7Z1bzcqLMQLKN3-Ci1cvKGNbnPdk8oM9QYiH0E7NEfrmFZKNkV3IqWVktvJ0VH6TMkzJB0ETZKD_/s1043/Le%20boiteux_Jacques%20Deveure%20is%20called%20to%20another%20case%20while%20out%20on%20a%20date%20with%20his%20girlfriend%20Louisa_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="1043" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIZ3TXqGXOjvKiNDMGuT1X5DOlWwamsEM_fQYSCV8TteSwlXXChKJQZpCYkFgIt7IQgIyY0TMUMd3H-_IefC0UDFF1B3D4NltjL9OaZ4fMK-7gh-G7Z1bzcqLMQLKN3-Ci1cvKGNbnPdk8oM9QYiH0E7NEfrmFZKNkV3IqWVktvJ0VH6TMkzJB0ETZKD_/w400-h224/Le%20boiteux_Jacques%20Deveure%20is%20called%20to%20another%20case%20while%20out%20on%20a%20date%20with%20his%20girlfriend%20Louisa_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">But the fact is that Lieutenant Jacques Déveure is one
of the most trustworthy characters in the film, as is Louisa and Granier, Déveure’s
partner on the police force. Déveure and Granier are investigating the death of
an infant, and they uncover layers of corruption that seem to involve everyone
in the small fictitious town in the southwest of France, where the infant’s
body is found.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The skeletal remains of an infant are discovered in
the basement of an apartment house by a worker installing new heat pipes.
Lieutenant Jacques Déveure and his partner Granier are assigned to the
investigation. It’s the first serious case for Déveure since his on-the-job
injury three years earlier, when Albertin shot him in the ankle. Déveure now
walks with a brace on his leg, a cane, and a limp. To say that he is bitter is
an understatement.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYqy-JwE3nQGYfC-SuRnCeSw9YR0RQDYKOBpbMFcsHFkBsgDDNDdg2lVLzKkkkeQyr7A2JsNhfuAOhTc599yBMs_zLW7vM-IV5VAaPaFxynC7n8lV8BfTOra1bA-lNGwYcR9WlJdS8A3vRNWwk6KvACbt0vUDGtTfCkT0Ob12UTTbouCcPinwmVLVLonr/s1034/Le%20boiteux_The%20skeleton%20of%20a%20baby%20found%20in%20the%20basement%20of%20the%20Piancets%20rented%20house_This%20discovery%20starts%20the%20film.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1034" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYqy-JwE3nQGYfC-SuRnCeSw9YR0RQDYKOBpbMFcsHFkBsgDDNDdg2lVLzKkkkeQyr7A2JsNhfuAOhTc599yBMs_zLW7vM-IV5VAaPaFxynC7n8lV8BfTOra1bA-lNGwYcR9WlJdS8A3vRNWwk6KvACbt0vUDGtTfCkT0Ob12UTTbouCcPinwmVLVLonr/w400-h226/Le%20boiteux_The%20skeleton%20of%20a%20baby%20found%20in%20the%20basement%20of%20the%20Piancets%20rented%20house_This%20discovery%20starts%20the%20film.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Viewers see the extended flashback of this incident
involving Lieutenant Déveure’s injury during the opening credits. This
flashback is repeated in bits and pieces throughout the film to show how much
Déveure has been haunted by this injury and how much it has affected his
outlook on life. Sometimes his own reflection in his bathroom mirror triggers
these recollections. Coming face to face with his partner Granier’s use of
violence to stop a murderous suspect also prompts these flashbacks. In both
these flashback instances, it is Albertin’s face specifically that comes to
Déveure’s mind, which perhaps shows him—and viewers—that he, his partner, and
Albertin may be very similar after all. Their reasons for doing what they do
may be the only thing that sets them apart.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6i9fjCe1CHByO0sD6YrzLK4hsfCZMMYb0IGnmUy787-JiQQAy4gKuMb-EKwH_7wDt8OyvguPcrNKDn2kfBXFrSv-W8bJJCQZwDuLcfFYK91gjED2Y3aOzxIyxUWL0LHaohbEznT2MGd9vVFTQb6FR5QjG4Jp5eH91CJvWA4G7b9HnYEO1sJmcTwamO7jk/s1043/Le%20boiteux_Jacques%20Deveure%20and%20his%20partner%20Granier%20after%20Granier%20shoots%20and%20kills%20Callero,%20the%20owne%20of%20Batipar,%20a%20construction%20company.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="1043" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6i9fjCe1CHByO0sD6YrzLK4hsfCZMMYb0IGnmUy787-JiQQAy4gKuMb-EKwH_7wDt8OyvguPcrNKDn2kfBXFrSv-W8bJJCQZwDuLcfFYK91gjED2Y3aOzxIyxUWL0LHaohbEznT2MGd9vVFTQb6FR5QjG4Jp5eH91CJvWA4G7b9HnYEO1sJmcTwamO7jk/w400-h225/Le%20boiteux_Jacques%20Deveure%20and%20his%20partner%20Granier%20after%20Granier%20shoots%20and%20kills%20Callero,%20the%20owne%20of%20Batipar,%20a%20construction%20company.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i>Le boiteux</i> contains
spoilers.)</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Déveure and Granier start asking questions, first of Blandine
and Patrick Piancet, the tenants of the building where the infant’s skeleton is
found. Patrick Piancet is the son of the town’s mayor, Lucien Piancet. Lucien
Piancet managed to ensnare many people in his web of corruption and murder over
several years because of his connection to the owner of a construction company:
Mr. Callero. The two are the source of all the misery and despair; they don’t
care about family, friends, or strangers, only about making money and their own
amusement. Others in town were trapped either unwittingly or because they
themselves had or have something to hide.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Blandine Piancet isn’t taken very seriously by any of
the other characters in the film, not at first. But she is a victim of the
corruption in town. Other characters call her crazy, which only makes it easier
for her to be taken less and less seriously—until she reaches a breaking point,
and by then it’s too late. As Déveure and Granier’s investigation proceeds,
they find that some of the people calling Blandine unstable aren’t so stable themselves.
They justify their actions by blaming others or putting their own emotions
above all else. Unfortunately for Blandine, she gets most of the blame,
although her actions are the least offensive and the least criminal.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvH-7Ok3OH6D_73a7XKVNiNbD5mNJh-ZrNTSuIJ--Z_F1E5vyUH8xQdIIn1wf5OJwxgKbsvKAXxcDJJ2cPFMuvWeVWs0OFLKk59Lw9iekd0GkOhECYIUr5wEk3Jvg0i95a9fOhEXhGg1mqfl6cC-mppjjZhHTIMBjDgXF4KEa_H2_mjVanola0nD-6q9Xs/s1037/Le%20boiteux_Blandine%20Piancet%20in%20the%20refrigerator,%20after%20taking%20too%20many%20barbiturate%20pills%20and%20killing%20herself.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="1037" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvH-7Ok3OH6D_73a7XKVNiNbD5mNJh-ZrNTSuIJ--Z_F1E5vyUH8xQdIIn1wf5OJwxgKbsvKAXxcDJJ2cPFMuvWeVWs0OFLKk59Lw9iekd0GkOhECYIUr5wEk3Jvg0i95a9fOhEXhGg1mqfl6cC-mppjjZhHTIMBjDgXF4KEa_H2_mjVanola0nD-6q9Xs/w400-h225/Le%20boiteux_Blandine%20Piancet%20in%20the%20refrigerator,%20after%20taking%20too%20many%20barbiturate%20pills%20and%20killing%20herself.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Le boiteux</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is a 1999
made-for-French-television film that I doubt would ever be shown on broadcast
television in the United States, not without cutting the sex scene between
Déveure and his girlfriend Louisa. The macabre humor about keeping a corpse in a
refrigerator where it was found and where it would be most practical might be
cut, too. I found the film because I have recently become a fan of the film’s
star, Vincent Winterhalter, and because my public library system happened to
have a copy of the DVD. (Winterhalter has starred in several films that are
part of the <a name="_Hlk144449429"><i>Murder In . . .</i> series in France</a>.
Highly recommended but not because they are noir, unfortunately; they are fun police
procedurals that explore different locations in France.)</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLOLh0eIctSSUg1jDA-_cCcW6Tz5hPnYuBgjYjRbFimCTDzmR6TYQ0bo8hPa29W_VTEp-Gg7VmuZFB8CMqMhKRRgznOsAX3JRAkU3MmTXdNJmZEPxTEoAFofLRWyvB3fWGpgP8mL7gc63MKWi-65Nqkt6V5hhzuDa6IIHpIDoqKH_kiqpPAI1sU7osJLs/s1044/Le%20boiteux_Close-up%20of%20Jacques%20Deveure%20in%20the%20mayor's%20office,%20giving%20the%20mayor,%20Lucien%20Piancet,%20a%20piece%20of%20his%20mind%20after%20the%20mayor%20warn%20him%20to%20back%20off%20the%20case.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1044" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbLOLh0eIctSSUg1jDA-_cCcW6Tz5hPnYuBgjYjRbFimCTDzmR6TYQ0bo8hPa29W_VTEp-Gg7VmuZFB8CMqMhKRRgznOsAX3JRAkU3MmTXdNJmZEPxTEoAFofLRWyvB3fWGpgP8mL7gc63MKWi-65Nqkt6V5hhzuDa6IIHpIDoqKH_kiqpPAI1sU7osJLs/w400-h224/Le%20boiteux_Close-up%20of%20Jacques%20Deveure%20in%20the%20mayor's%20office,%20giving%20the%20mayor,%20Lucien%20Piancet,%20a%20piece%20of%20his%20mind%20after%20the%20mayor%20warn%20him%20to%20back%20off%20the%20case.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The first time that I saw <i>Le boiteux</i>, I wasn’t
so sure that it was noir. The music score, and the film’s theme music
specifically, is very upbeat. The film was shot on location in “Bordeaux, Bourg
sur Gironde, et Blanquefort” according to the closing credits. These are small
cities in southwestern France, with relatively warm weather and, as shown in
the film, plenty of local color. But evil can happen anywhere, and that’s
definitely the case in <i>Le boiteux</i>. In fact, “small” may mean that evil
is easier to pursue because it’s easier to know everyone’s business and their
weaknesses. It’s a theme that is explored in some U.S. films noir, for example,
<i>Kansas City Confidential</i> (1952) and <i>The Phenix City Story</i> (1955).
Two characters in <i>Le boiteux</i>, Lucien Piancet and Callero, take advantage
of their small-town circumstances and everyone living there.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant Déveure, his partner Granier, and the rest
of the police force do the best they can with limited resources and limited
cooperation. Déveure’s moments of self-doubt, doubt about his work, and his hesitation
about commitment to his girlfriend Louisa seem to make him stronger as he faces
these problems throughout the story. The murder case is solved, but it is
Déveure’s character arc that is the most satisfying part of the narrative.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">January 3, 1999, broadcast date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Paule Zadjermann<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Paule Zadjermann, Pascale
Basset-Chercot<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the novel <i>Baby-blues</i> by
Pascale Basset-Chercot<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Jean-Claude Vannier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Jean-Baptiste de Battista<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Gérard de Battista</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Vincent Winterhalter as Lieutenant Jacques Déveure<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>François
Berléand as Granier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Audrey Tautou as Blandine Piancet<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Brigitte
Roüan as Véronique Troney<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Laura del Sol as Louisa<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Frédéric
Gorny as Patrick Piancet<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jean-Marie Frin as Lucien Piancet<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Stéphane
Jobert as Callero<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Stéphane Olivié Bisson as Dr. Gallot<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Nicolas
Silberg as Commissioner Chassagne<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alban Guitteny as Adjutant Berchet<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Julie-Marie
Parmentier as Jasmine Troney<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Philippe de Brugada as Pinto<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Philippe
Laudenbach as Dr. Joseph Brant<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Renée Courty as Madame Vannier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Laurent
Olmedo as Albertin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Valérie Ancel as the mayor’s secretary</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Produced by Cinétévé-France
3 Production Sud-Ouest<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Broadcast by France 3</span></b> <br />Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-5095262266657344262023-08-11T20:11:00.000-04:002023-08-11T20:11:18.371-04:00Motherless Brooklyn (2019)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
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</p><p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Edward
Norton based his screenplay for <i>Motherless Brooklyn</i> on Jonathan Lethem’s
novel of the same name, and this may be one instance when seeing the film before
reading the novel will make no difference at all. Norton made so many changes
to the story that it upset several reviewers, from what I have read online, and
earned the film a mixed reception. It may be easier for me to say this because
I haven’t read the book, but I think that the mixed reception is undeserved.
The film stands on its own and should really be approached without comparing it
to the novel.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Am2F0ajGtLNnO-pzMVVKwBmu0dt-lkZgvC7oFLQHfsq-b2iNG4XMU-Zx4loBs780J-aO1xp7gyKyTemET7jBui5aeMis49YSS3pdnvg-dztXji7X3hv4YqjRxDPVZObmsGhGEou1VhXufOFxbPxS4Cso9-1Ws1Y6SCAMGYj6WxsT4UV-zrYjy2P8ibeD/s1049/Motherless%20Brooklyn_The%20Brooklyn%20Bridge%20at%20night,%20in%20the%20fog.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="569" data-original-width="1049" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Am2F0ajGtLNnO-pzMVVKwBmu0dt-lkZgvC7oFLQHfsq-b2iNG4XMU-Zx4loBs780J-aO1xp7gyKyTemET7jBui5aeMis49YSS3pdnvg-dztXji7X3hv4YqjRxDPVZObmsGhGEou1VhXufOFxbPxS4Cso9-1Ws1Y6SCAMGYj6WxsT4UV-zrYjy2P8ibeD/w400-h217/Motherless%20Brooklyn_The%20Brooklyn%20Bridge%20at%20night,%20in%20the%20fog.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">I know I just said that the film shouldn’t be compared to Lethem’s
novel, but that doesn’t mean the differences aren’t interesting to read about.
An online search for the film’s title will probably bring up plenty of sources
to read, but I found the following to be both interesting and succinct:</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">◊
Marissa Martinelli’s article at Salon.com: “All the Ways the <i>Motherless
Brooklyn </i>Movie Departs from Jonathan Lethem’s Novel: </span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";">Edward Norton’s Adaptation Changes More Than It Keeps.”
Click <a href="https://slate.com/culture/2019/11/motherless-brooklyn-book-movie-comparison-differences.html" target="_blank">here</a>.</span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">◊
</span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">Wikipedia’s entry for the film. Click <a href="https://en.wikipedia.org/wiki/Motherless_Brooklyn_(film)#Differences_between_movie_and_book" target="_blank">here</a>.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">The title, by the way, comes from Frank Minna’s nickname for Lionel
Essrog. This is true in the film, but I haven’t read the novel (not yet
anyway), so I can’t speak on that point.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">One
of the major differences is that Norton moves the time period to the early
1950s, when films noir were still being released by Hollywood. Some of the
characters, including Lionel Essrog (played by Norton), the main character and
narrator, are detectives working for Frank Minna (played by Bruce Willis), who
runs his own detective agency called </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">L&L Agency. Frank Minna
is murdered early in the film, and Lionel spends the rest of the story line
investigating Frank’s death and uncovering corruption in Brooklyn in particular
and in New York City in general.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This
article about <i style="mso-bidi-font-style: normal;">Motherless Brooklyn</i>
contains spoilers.)</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lionel’s voice-over and a shot of a 1950s car on a
city street starts the narrative. Lionel tells viewers a little bit about
himself and about his boss Frank Minna, for example: </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“He [Frank Minna] was more
philosophical than your average gumshoe, but he liked to do his talking on the
move, so here’s how it all went down. I got something wrong with my head.
That’s the first thing to know. It’s like having glass in the brain. I can’t
stop pickin’ things apart, twistin’ ’em around, reassembling ’em. Words and
sounds, especially. It’s like an itch that has to be scratched. . .” At this
point, Lionel is already on screen and seated next to his fellow detective,
Gilbert Coney, in the car. Gilbert sits at the wheel and continues eating
something that he has brought on this “sit,” as they call a stakeout. The only
time Gilbert says anything is to tell Lionel to stop unraveling the sleeve of
his sweater. He is accustomed to Lionel’s tics and outbursts. (Lionel suffers
from Tourette’s syndrome, although he himself never uses that term in the
film.)</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank Minna
comes down the sidewalk to the passenger side of the car to give instructions
to Lionel and Gilbert. Neither one of them know the details of Frank’s case.
Frank tells them, “I gotta keep this one under my hat, boys.” (Frank’s hat
plays a significant part in Lionel’s ability to solve Frank’s murder, but
viewers don’t know that until late in the film.) Frank is meeting three men in
an abandoned building that still has a working telephone, which Frank uses to
help Lionel overhear the group’s conversation from a public pay phone. Two of
the men become angry with the information that Frank provides to them. They
tell Frank that they might not pay him for the information because it isn’t
what they asked for and because they want original documents, not copies. They
insist on driving him to the location where he has hidden the originals. Lionel
is listening to all of this on a pay phone after calling the telephone number
that Frank gave to him earlier.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lionel and
Gilbert follow Frank in the other men’s car, but they lose it temporarily. They
arrive in time to see Frank shot in the back. Lionel and Gilbert pick up a
badly wounded Frank (and his gun and his hat, at Frank’s insistence) and take
him to the emergency room. His injuries are too severe, however, and he passes
away soon after they arrive at the hospital.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEXcdXUxk7Ty7DUUXOQ0LLlE7GaYTMQFNsI1AuquNvv5_dM_-AiD06eJgypWIosOj4kvjbm-KgoXegLF7RNo61o9Z9R0nJospMgeoQgq7UEcqqLzX4mrh1TKRnJgFUUkGOvLbIc5X5SOmZkH78tv80EZHEdLbPwvKwio0oekwLKhQf2eveX-pqTHWoK55/s1046/Motherless%20Brooklyn_Lionel%20Essrog%20and%20Gilbert%20Coney%20outside%20the%20hospital%20emergency%20room%20after%20Frank%20Minna's%20death.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="1046" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEXcdXUxk7Ty7DUUXOQ0LLlE7GaYTMQFNsI1AuquNvv5_dM_-AiD06eJgypWIosOj4kvjbm-KgoXegLF7RNo61o9Z9R0nJospMgeoQgq7UEcqqLzX4mrh1TKRnJgFUUkGOvLbIc5X5SOmZkH78tv80EZHEdLbPwvKwio0oekwLKhQf2eveX-pqTHWoK55/w400-h219/Motherless%20Brooklyn_Lionel%20Essrog%20and%20Gilbert%20Coney%20outside%20the%20hospital%20emergency%20room%20after%20Frank%20Minna's%20death.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Back at the </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">L&L
Agency offices, Lionel and Gilbert break the news to Danny Fantl and </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tony Vermonte, their detective
partners and Frank’s other employees</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">. Lionel takes Frank’s
possessions to his wife Julia Minna. She’s angry with Frank for dying and not
talking to her about what he had been up to recently. Lionel promises to find
out who killed Frank, but Julia doesn’t want him making any promises. Lionel
then goes home, distraught about Frank’s death.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The
next day, it becomes obvious that Frank had been working on something big. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Julia
Minna comes to the detective agency, which has already been ransacked, to tell
the four remaining employees that her home has also been ransacked and that Frank
left the detective agency to her. She puts Tony Vermonte in charge. After Julia
leaves, Tony says that Frank gave them a lifeline when they were in the
orphanage (Lionel, Gilbert, Tony, and Danny all met in a neighborhood orphanage
when they were quite young), but he never confided in them. Tony just wants to
continue with the business and avoid risking his life. Lionel feels a sense of
loyalty and duty to find out what happened to Frank, and he starts digging into
the circumstances of Frank Minna’s death.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh90gjAzT8cQ6OikrrT11ewF8INj9BWPH9-iQBzggnXxFoioyca62zWeOBzXvHmAmYwVARQx8t41yPwHRle4iyN96d-t_ORFupStdFpcLa29etUlFuVQe7_Gs5wjxUbjK_SFscpwkLVcQfXymQviPGGz_2nnog9BVYSo4aKb-x7e9w1NsREp5VGF0BkRn3h/s1052/Motherless%20Brooklyn_Danny%20Fantl,%20Lionel%20Essrog,%20Tony%20Vermonte,%20and%20Gilbert%20Coney%20inside%20the%20detective%20agency%20office_Tony%20is%20upset%20about%20the%20circumstances%20of%20Frank%20Minna's%20death.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1052" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh90gjAzT8cQ6OikrrT11ewF8INj9BWPH9-iQBzggnXxFoioyca62zWeOBzXvHmAmYwVARQx8t41yPwHRle4iyN96d-t_ORFupStdFpcLa29etUlFuVQe7_Gs5wjxUbjK_SFscpwkLVcQfXymQviPGGz_2nnog9BVYSo4aKb-x7e9w1NsREp5VGF0BkRn3h/w400-h219/Motherless%20Brooklyn_Danny%20Fantl,%20Lionel%20Essrog,%20Tony%20Vermonte,%20and%20Gilbert%20Coney%20inside%20the%20detective%20agency%20office_Tony%20is%20upset%20about%20the%20circumstances%20of%20Frank%20Minna's%20death.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">It’s true that Frank never confided in his detective
employees, and Lionel is practically on his own when he decides to investigate
Frank’s death. Based on what he overheard during Frank’s last conversation with
the three men in the abandoned building and what Frank was able to say right
before he died, Lionel puts the pieces together and starts to collect more
clues that don’t make much sense at first and don’t seem connected at all.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lionel meets Laura Rose, who works for the Committee
for Racial Discrimination in Housing and who tells him that </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Black and Latino neighborhoods are
being destroyed, as are Jewish neighborhoods, but not as systematically. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">He finds
his way to a community meeting protesting neighborhood demolitions, where Moses
Randolph, head of the Parks Department and the Borough Authority, is making his
case for what we would call urban renewal today. Lionel</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> follows Paul Randolph, who also attended
the meeting and protested loudly. Outside on the street, Paul tells Lionel that
people like Moses Randolph because he builds parks, but what they don’t realize
is that Moses Randolph hates them. He also tells Lionel that the Borough
Authority is a fourth shadow branch of government because Moses was appointed
to serve; he was not voted into office, and thus he is not accountable to
anyone, not even the city’s voters. Moses is aware of the extent of his power,
and he is willing to use it to get what he wants. Moses tells Lionel later in
the film, “The important thing in this life is to get things done. Those who
can, build. Those who can’t, criticize. And I will not obstruct the great work
of this world while some chipmunks are screeching about having to relocate
their nuts.”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9KnlEbMUGfcjSqy8mEA26mZZJTOTm6ryM2E-l18iKC2S9mAXAqIAIGF8dr2CfKFaYe20hA2GhSqGeTCONsVNmAYw9NeuKtKm682mNvtxXoLpF-JCU--UPYMAAPPPoNT6Mws_hFDu_loUFRL8PT03_FISgATc1FPlTr57XYF4EV6wSP6Er4hUPlfy6i0u5/s1045/Motherless%20Brooklyn_Laura%20Rose%20talks%20to%20Lionel%20Essrog%20about%20what%20so-called%20urban%20renewal%20is%20doing%20to%20black%20and%20other%20minority%20neigborhoods.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="1045" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9KnlEbMUGfcjSqy8mEA26mZZJTOTm6ryM2E-l18iKC2S9mAXAqIAIGF8dr2CfKFaYe20hA2GhSqGeTCONsVNmAYw9NeuKtKm682mNvtxXoLpF-JCU--UPYMAAPPPoNT6Mws_hFDu_loUFRL8PT03_FISgATc1FPlTr57XYF4EV6wSP6Er4hUPlfy6i0u5/w400-h219/Motherless%20Brooklyn_Laura%20Rose%20talks%20to%20Lionel%20Essrog%20about%20what%20so-called%20urban%20renewal%20is%20doing%20to%20black%20and%20other%20minority%20neigborhoods.png" width="400" /></a></b></div><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Motherless Brooklyn</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> may be a
neo-noir released in 2019, but World War II and post-traumatic stress disorder
(PTSD) are prominent features of the story and two reasons why the film can be
called a postwar film. Several of the characters are war veterans with physical
and emotional scars from their time in the service. For example, </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Danny Fantl is a war veteran who
fought in the Battle of the Bulge, Frank Minna is a veteran who fought at
Guadalcanal, and Billy Rose (the uncle of Laura Rose, Lionel’s love interest)
returned from the war with a disability: He cannot use his left arm and can no
longer play jazz. Lionel addresses Frank Minna’s war service directly in one of
his voice-overs: “Frank [Minna] was the only person I knew who thought the way
we won the war was going to cause us problems. He said, after the Crash [the
stock market crash of October 1929], we were diggin’ ourselves out by taking
care of each other. Now that we’d seen what we could do with our brute
strength, there was no goin’ back. He said, from here on out, the game’s gonna
be about power from top to bottom.”</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank made a
point of educating his employees about the reality of a detective’s work.
Lionel explains, “Frank told me once, if you’re up against someone bigger than
you, someone you can’t beat toe to toe, make ’em think you respect their size,
and then cut a deal that lets you walk out in one piece. Then figure out a way
to stick it to ’em later without leaving your prints on the knife . . .” It’s
advice he considers carefully in his dealings with Moses Randolph. Whatever </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">naïveté Lionel
possesses concerning Frank Minna is gone, however, by the end of the film.
Lionel learns to take a much more practical and nuanced perspective on his boss,
again by referencing Frank’s service in World War II: </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“Growin’ up, I always thought Frank
was a hero. But he was no crusader in the end. He was just a gumshoe tryin’ to
make a buck like everyone else. But he didn’t have go to that war. He was old
enough to have skipped it, and he went anyway ’cause he actually thought this
country was worth fighting for.”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqh0jEfBQ0mX4w9eZ8f3kH8llo7s-x1DGGpGTAfK-YsjBLowt2rQWl6iuTSJS3T8r_z1KYQSqxzFfI0-JYpcpIG8yvCFJ-uIqpxrXZQgIrnPxgxht9NO4mV7sOwcOoe__c1naCRS2FUkIj1zF8PLU_jw4GCzTSbykeJpJzlbfFd9pk7KhGgb950OhcU9Ke/s1046/Motherless%20Brooklyn_Close-up%20of%20Lionel%20Essrog%20trying%20to%20remember%20what%20he%20can%20about%20Franka%20Minna's%20death%20and%20what%20he%20was%20trying%20to%20say%20on%20his%20deathbed.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="1046" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqh0jEfBQ0mX4w9eZ8f3kH8llo7s-x1DGGpGTAfK-YsjBLowt2rQWl6iuTSJS3T8r_z1KYQSqxzFfI0-JYpcpIG8yvCFJ-uIqpxrXZQgIrnPxgxht9NO4mV7sOwcOoe__c1naCRS2FUkIj1zF8PLU_jw4GCzTSbykeJpJzlbfFd9pk7KhGgb950OhcU9Ke/w400-h219/Motherless%20Brooklyn_Close-up%20of%20Lionel%20Essrog%20trying%20to%20remember%20what%20he%20can%20about%20Franka%20Minna's%20death%20and%20what%20he%20was%20trying%20to%20say%20on%20his%20deathbed.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Betrayal is
a major theme in <i>Motherless Brooklyn</i>, as it is in many noir films. <i>Motherless
Brooklyn</i> has a long list of examples because the stakes are high, and many
characters betray one another, either by lying or simply remaining silent:</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Julia Minna cheats on her husband.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Tony Vermonte is sleeping with his boss’s wife (Julia
Minna), he accepts bribes and tails Lionel Essrog, and he is willing to kill
Lionel (and attempts to do so) to keep him from interfering in the overall plan
to eliminate Laura Rose and everyone connected to her.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Frank Minna tries to blackmail Moses Randolph and his
associate William Lieberman.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Moses Randolph destroys his brother Paul both
personally and professionally.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Moses Randolph’s and William Lieberman’s greed for
power and money lead them to cheat city residents of their homes and
neighborhoods, and they are willing to use violence to achieve their goals.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">But there
are some examples of loyalty, too. They are few and far between, but they seem to
stand out so much more compared to the many levels of betrayal portrayed in the
film. Frank Minna and Lionel Essrog, for instance, remain loyal to each other,
and Lionel finds proof of that even after Frank’s death. Lionel and</span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">
</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Laura Rose fall
in love and do what they can to protect one another.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jJ1zMpwgJfiz9AU7oxE520FPymHScCt48bFJ6MzzEDiihBPkJI1NBPaGaW8WMy0t63wTaFGurb4wo4r8D9-_xAlNKM8aVa7gEdcj_Egw2_Z_c2b17SoIgXtf9cCNFAAOKiKfTl9KdQEj1yex-q39uRpQHAdW4p3C9h0j4KwUcHbLHGpr-Nfy3tiQNb6V/s1046/Motherless%20Brooklyn_Laura%20Rose%20and%20Lionel%20Essrog%20at%20the%20property%20that%20Frank%20Minna%20left%20to%20Lionel_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="1046" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jJ1zMpwgJfiz9AU7oxE520FPymHScCt48bFJ6MzzEDiihBPkJI1NBPaGaW8WMy0t63wTaFGurb4wo4r8D9-_xAlNKM8aVa7gEdcj_Egw2_Z_c2b17SoIgXtf9cCNFAAOKiKfTl9KdQEj1yex-q39uRpQHAdW4p3C9h0j4KwUcHbLHGpr-Nfy3tiQNb6V/w400-h219/Motherless%20Brooklyn_Laura%20Rose%20and%20Lionel%20Essrog%20at%20the%20property%20that%20Frank%20Minna%20left%20to%20Lionel_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I found the
film fascinating for so many reasons. The performances from all the actors,
lead and supporting, are great. The setting and the time period are fascinating,
and even more so if you listen to Norton’s commentary about shooting on
location on the Blu-ray version. The story is full of twists and turns, which
always intrigues me. A second viewing was as enjoyable as the first because it
was easier to pick up even more details, which gave me an appreciation for the
complexity of the narrative and the skill in putting it all together. <i>Motherless
Brooklyn</i> is almost two and a half hours long, but I wouldn’t call the
film’s length a disadvantage, not at all. And I have seen the film at least
twice and listened to Edward Norton’s commentary, too. The DVD version doesn’t
include Norton’s commentary, but the Blu-ray version does, and I recommend the
commentary, too.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">August 30, 2019 (Telluride Film Festival), November 1,
2019, release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Edward Norton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by Edward Norton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the novel <i>Motherless Brooklyn</i>
by Jonathan Lethem<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Daniel Pemberton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Joe Klotz<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Dick Pope</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Edward
Norton as Lionel Essrog<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bruce Willis as Frank Minna<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Gugu
Mbatha-Raw as Laura Rose<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Alec Baldwin as Moses Randolph<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Willem
Dafoe as Paul Randolph<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bobby Cannavale as Tony Vermonte<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cherry
Jones as Gabby Horowitz<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Michael K. Williams as the trumpet player<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Leslie
Mann as Julia Minna<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ethan Suplee as Gilbert Coney<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dallas
Roberts as Danny Fantl<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Josh Pais as William Lieberman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Robert
Wisdom as Billy Rose<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Fisher Stevens as Lou<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Nelson
Avidon as Jacob (aka Jake) Gleason, newspaper reporter</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Warner Bros.
Pictures<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced by Class 5 Films, MWM Studios</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com2tag:blogger.com,1999:blog-9001384737868808902.post-52779856967246292792023-07-29T19:54:00.001-04:002023-08-11T20:18:01.485-04:00The Murderers Are Among Us (1946)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
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</p><p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
film’s title, <i>The Murderers Are Among Us</i>, comes from the diary of one of
the main characters, Dr. Hans Mertens. He has written these words after
learning that his former commanding officer, </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Ferdinand
Brückner, has survived the war and is living comfortably in Berlin, a city that
has been reduced to rubble during World War II. Mertens is suffering from
post-traumatic stress disorder (PTSD), so much so that he has squatted in a
stranger’s apartment and finds only enough money to keep himself inebriated
every day. The stranger, Susanne Wallner, returns to her apartment after being
imprisoned in a concentration camp, and their meeting sets off the series of
events that form the narrative of the film.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj9GpuSAiOJCCV6RznFkCXQXJZKKRPCagsAexpQpNWSNJnn3nX8wA8-vnxgVy_-9YgXO_X06fpnk27tOzCDmmOpkewM3ilBZjpDNjWu6NurEwHUkpHtZ5oIONqTISSSkPRwFTnO1nPOAxhHy8GRjv-kCCaViOctAvWflc0xFamLEkEFZAx2ZRCa3RwZMT/s768/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20and%20Susanne%20Wallner%20meet%20for%20the%20first%20time%20at%20the%20front%20door%20of%20her%20apartment,%20where%20he%20has%20been%20squatting.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="768" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj9GpuSAiOJCCV6RznFkCXQXJZKKRPCagsAexpQpNWSNJnn3nX8wA8-vnxgVy_-9YgXO_X06fpnk27tOzCDmmOpkewM3ilBZjpDNjWu6NurEwHUkpHtZ5oIONqTISSSkPRwFTnO1nPOAxhHy8GRjv-kCCaViOctAvWflc0xFamLEkEFZAx2ZRCa3RwZMT/w400-h305/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20and%20Susanne%20Wallner%20meet%20for%20the%20first%20time%20at%20the%20front%20door%20of%20her%20apartment,%20where%20he%20has%20been%20squatting.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film was released after World War II
with several titles. I chose the one on the copy of the DVD that I borrowed.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Die Mörder sind unter uns</span></i></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> (Germany)</span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">The Murderers Are Among Us</span></i></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> (United
Kingdom)</span></b></p><p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Murderers Among Us</span></i></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> (United
States)</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
Murderers Are Among Us</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> starts with white type:
“Berlin 1945 Die Stadt hat kapitulient . . .” (“The city has capitulated.”)
Discordant ragtime music on the soundtrack accompanies the camera as it pans up
from a mound of earth, what could be a grave, to Mertens walking through the
rubble of Berlin. Children are running and playing in puddles. He walks up to
the front of a cabaret, the source of the music. It is also where he spends
most of his time.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Then an overcrowded train carries passengers into
Berlin. Susanne Wallner disembarks; she is one of a crowd returning to Berlin,
she in particular from a concentration camp. Susanne had been taken away at the
same time her father had been arrested. No one seems to know why, and it’s
likely Susanne and her father never knew either.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObaG1hSe9HdpI_cIZxrYZoP9_GOeTimSL92dpF2fStLZOPHLRKGG44ZCZZEm3LYlGPZBG8wwUv4IcR6EqDn5SQNMNko3PKg1ModDmbieA3AycCkMBVE4HSoJLQU7_dCaRsXfhx7h2ohX1igJ92V2WJZbjuIqdCFlLcj8w0XhW_7aP3le9QWPjd15RX6Sn/s775/The%20Murderers%20Are%20Among%20Us_Susanne%20Wallner%20returns%20to%20Berlin%20after%20being%20imprisoned%20in%20a%20concentration%20camp.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="775" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObaG1hSe9HdpI_cIZxrYZoP9_GOeTimSL92dpF2fStLZOPHLRKGG44ZCZZEm3LYlGPZBG8wwUv4IcR6EqDn5SQNMNko3PKg1ModDmbieA3AycCkMBVE4HSoJLQU7_dCaRsXfhx7h2ohX1igJ92V2WJZbjuIqdCFlLcj8w0XhW_7aP3le9QWPjd15RX6Sn/w400-h304/The%20Murderers%20Are%20Among%20Us_Susanne%20Wallner%20returns%20to%20Berlin%20after%20being%20imprisoned%20in%20a%20concentration%20camp.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens comes home drunk once again to Susanne’s
apartment, where he has taken up residence. The neighbors are critical of his
behavior, and they will be critical later of his living in the apartment after
Susanne’s return. In one scene, viewers see only their sharp profiles in shadow
and hear them talking, one telling the other that they should complain about
the two of them; the other responds that there is no one to complain to these
days. The implication is that people can’t trust their neighbors, some of whom
were quite willing to report them to authorities (that is, the Nazis) simply if
they didn’t approve of their behavior. Despite the ruinous consequences of the
war, people are still willing to talk behind people’s backs and get them in
serious trouble with the authorities, or whoever will replace the Nazis.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Before Susanne arrives at her apartment, she stops to
visit Mondschein, an optometrist. He is still working at his trade in a small
cubbyhole of a store in the first floor of her apartment building. She is glad
to see that he is still alive, and he is very happy to see her, too. When
Susanne seems about to break down because of her memories, Mondschein
encourages her to find a goal to live for. He also warns her about the
squatter, the man living in her apartment. It’s obvious that he cares about her
safety, both psychological and physical. When Susanne gets to her apartment,
she asks the stranger to find another place to live, but he refuses. She gives
in and lets him stay, although she isn’t completely sure that she can trust
him.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">So much of the film is shot in extreme close-ups. The
main characters, especially Hans and Susanne, are living under a microscope,
and the camera’s eye accentuates that. They are confined, isolated, poor. They
are hemmed in by the rubble of the city, and they are hemmed in by poverty,
desperation, and limited choices. Filming on location and the extreme close-ups
emphasize the predicament that all the characters face, what the citizens of
Europe faced at the time.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkVrrkodzYZFpDc1IaupAUvGXxSOrw9zHlBtXpWe_U_XpyAzbiDaOr9a9nMYJKg5wITU59pUmGwWi_F27aJzsg48QPclqjQAMKtueGdDLoBg4KN4Rd9RK-KHjjKuBQFp8DS9VltKT3qSFhMmCT9Tj171I0RmV8lNlgCG_kN1Kv6_g3wlQCoygjsfoHTHL/s767/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20is%20in%20the%20hospital%20suffering%20from%20PTSD.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="767" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkVrrkodzYZFpDc1IaupAUvGXxSOrw9zHlBtXpWe_U_XpyAzbiDaOr9a9nMYJKg5wITU59pUmGwWi_F27aJzsg48QPclqjQAMKtueGdDLoBg4KN4Rd9RK-KHjjKuBQFp8DS9VltKT3qSFhMmCT9Tj171I0RmV8lNlgCG_kN1Kv6_g3wlQCoygjsfoHTHL/w400-h308/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20is%20in%20the%20hospital%20suffering%20from%20PTSD.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Existentialism is one of the many themes of film noir,
and in </span></b><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
Murderers Are Among Us</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">, t</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">he characters face
existential crises every day. The film does not sugarcoat what their daily
lives are like. Some of the characters’ conversations directly address the
philosophical implications of postwar life. Hans Mertens, perhaps the character
who is most despairing, is the one who initiates most of these conversations.
When he stops in Mondschein’s shop after a night of heavy drinking at the
cabaret, the two talk about Mondschein’s son and the possibility of his safe
return now that the war is over. The conversation turns into a discussion of
both hope and despair:</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">• </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens: “How can you be
sure he’s not a wealthy man by now? A homeowner? Living in a mansion somewhere
out there with shining windows and a garden full of flowers to call his own?”</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">• </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mondschein: “I will have
willingly worked in vain. He will come back here anyway.”</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">• </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens: “Maybe he forgot
his father. Maybe he thinks you are dead. It’s a miracle you’re alive.”</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">• </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mondschein: “He’d come to
look for my grave. [pause] You are a poor soul, Dr. Mertens.”</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">• </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens: “We all are, my
friend.”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9xJ7-UG2A3VFUQCPxhNMWik7slGYZCKcC94bGJansywispeiBlmKy8jDqe09MkZTEShcCSXz101t_DnxOKt14FIpU8m-BVvTNfNYyt0PrD54Pmfg-2LXMXd795q_Jw3z-uxl2cVdkw7DrOTmWwocfOTvzQL4G5rGXSJnIlCyXWiuagmldNPviyCZ8Xf4/s772/The%20Murderers%20Are%20Among%20Us_Mondschein%20in%20his%20shop%20explaining%20to%20Hans%20Merten%20about%20his%20hope%20for%20his%20son%20coming%20home.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="772" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9xJ7-UG2A3VFUQCPxhNMWik7slGYZCKcC94bGJansywispeiBlmKy8jDqe09MkZTEShcCSXz101t_DnxOKt14FIpU8m-BVvTNfNYyt0PrD54Pmfg-2LXMXd795q_Jw3z-uxl2cVdkw7DrOTmWwocfOTvzQL4G5rGXSJnIlCyXWiuagmldNPviyCZ8Xf4/w400-h305/The%20Murderers%20Are%20Among%20Us_Mondschein%20in%20his%20shop%20explaining%20to%20Hans%20Merten%20about%20his%20hope%20for%20his%20son%20coming%20home.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">When Hans returns to the apartment, he tells Susanne:
“But I’m a special surgeon. One who can’t stand seeing blood. I can no longer
bear to hear the moans of people in torment. I know there is no longer any
point in healing mankind.” At the end of their conversation, the film then cuts
to a shot of a bombed-out building, part of which crumbles to the ground in a
cloud of dust. Without hope, any remnant of civilization crumbles to the
ground. Hans Mertens’s psychological torment could eventually kill him, even
though constant wartime danger hadn’t.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This
article about </span></b><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
Murderers Are Among Us</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> contains spoilers.)</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Susanne finds a letter addressed to someone named
Elise Brückner on the apartment floor, she decides to deliver it herself. She
learns that Elise Brückner’s husband, Ferdinand Brückner, is still alive and
was Hans’s commanding officer. She tells Hans, thinking that it will please
him. He does go to visit Brückner, has dinner with him and his family. He sees
that the Brückners are living well in war-torn Berlin. He also learns that
Ferdinand Brückner is the manager of a factory making pots out of used and battered
helmets. Brückner returns Mertens’s gun to him, which triggers an audio
flashback for Mertens.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Hans finally decides to go to a hospital to offer his
services, but he suffers another PTSD episode when he hears a patient moaning
in pain. He is hospitalized instead. In another flashback, viewers learn that
Hans may have inadvertently saved Brückner’s life. During the war, when they
were attacked by Allied forces, Brückner was wounded, and he requested Hans’s
gun to kill himself rather than be taken prisoner. Hans had assumed that his
commanding officer had died because he was forced to leave him behind.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mondschein visits Susanne in her apartment to warn her
about Hans, about “running straight into disaster.” But Susanne loves the
doctor. One could make the claim that Mondschein is trying to interfere in
Susanne’s life, but he does so out of concern for her. Unlike the neighbors in
Susanne’s apartment building, he doesn’t go to third parties with his worries;
he goes to Susanne herself and suggests that she might be heading for danger
with a man like Hans Mertens.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5K1i3KjNL_OuP8GvtsbQaU1TMxvcHySX-h4O5etX2FtZraAXddcShoY_0KprL4EAklICaZD0dsETbk74UWk6qf2eVvDU-ne8JZIrywNpV_JnCHBShAPXhAPYa_AADMbwlWgRX46RuI80HO1__DcIoVwFC4k8rz_lVbuACIeqsIP7WVEWvLVPeMBscWskX/s772/The%20Murderers%20Are%20Among%20Us_Mondschein%20visits%20Susanne%20Wallner%20in%20her%20apartment%20because%20he%20fears%20that%20her%20love%20for%20Hans%20Mertens%20means%20that%20she%20is%20running%20straight%20into%20disaster.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="772" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5K1i3KjNL_OuP8GvtsbQaU1TMxvcHySX-h4O5etX2FtZraAXddcShoY_0KprL4EAklICaZD0dsETbk74UWk6qf2eVvDU-ne8JZIrywNpV_JnCHBShAPXhAPYa_AADMbwlWgRX46RuI80HO1__DcIoVwFC4k8rz_lVbuACIeqsIP7WVEWvLVPeMBscWskX/w400-h304/The%20Murderers%20Are%20Among%20Us_Mondschein%20visits%20Susanne%20Wallner%20in%20her%20apartment%20because%20he%20fears%20that%20her%20love%20for%20Hans%20Mertens%20means%20that%20she%20is%20running%20straight%20into%20disaster.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mondschein is not well from the start of the film. He
has a persistent cough that is present during his first meeting with Susanne
Wallner after her return to Berlin. Bartholomäus Timm, Susanne’s neighbor and a
fortune-teller, is doing a booming business in these hard postwar times, and
even Mondschein, who seems the most able of all the characters to cope, goes to
visit him for good news about his son. Timm is nothing but a charlatan, of course,
peddling information that is based on nothing at all. Mondschein always has his
own determination and hope, however, and nothing can take that away from him.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens goes to Brückner’s factory looking for
Brückner, who is happy to see him. His wife is out of town, and he wants
Mertens to take him to a bar with girls. Mertens plans to use the opportunity
to kill Brückner, and he leads Brückner almost aimlessly through the rubble not
to find the cabaret but to find a spot where no one will see them. Brückner,
oblivious to Mertens’s plans, is also oblivious to the suffering around them.
They walk past ruins and people cleaning debris by passing buckets hand to
hand. He advises Mertens: “Don’t look so sad. We want to have fun. Every era
offers its chances if you find them. Helmets from saucepans or saucepan from
helmets. It’s the same game. You must manage. That’s all.”</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens is interrupted in his plans by the sudden
appearance of a mother frantic about her daughter, who is back in their
apartment and cannot breathe. Brückner tells the woman that Mertens is a doctor
and tells Mertens to go to the woman’s apartment. Mertens hesitates, and
Brückner encourages him to save the child’s life. Mertens finally agrees and
goes with the mother to her apartment. Brückner continues on his way looking
for the bar, while Mertens helps the daughter and saves her from choking. This
act helps his frame of mind, and he has some hope once again.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Brückner is a hypocrite, a murderer, a torturer. He
has no scruples about killing innocent women and children. He has no guilt
about cheating on his wife. But he has compassion for the mother’s sick
daughter, a child, a German citizen. Some of the characters in this film are
capable of more evil than others, but even the evil is juxtaposed with some
good.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mertens returns to the factory on Christmas Eve to
kill Brückner. When Mertens arrives, he hears Brückner giving a motivational
speech to his workers. He has another flashback, one that is longer and more
complete than his previous flashbacks. Christmas Eve was the same day three
years ago that Mertens tries to dissuade Brückner from killing over 100 men,
women, and children because the Germans heard a shot but didn’t know where it
came from. A detailed report submitted at the time is part of this flashback.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Susanne finds and reads Hans’s diary. She learns that
Hans was glad to give Brückner his gun not because he wanted to do a friend a
favor but because it relieved him of the responsibility of killing Brückner
himself. Susanne realizes that Hans wants to kill Brückner and rushes after
him. The only thing that stops Hans is Susanne’s appearance at the factory. On
their way home, Hans tells Susanne that it is important to submit a report
about Brückner because it is the best way to help atone for the millions of
people who died in the war.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuFnctGaOmZ5dC9HZV96mXMvZWeN51fnAA5Qi2OxtDwmdTGssz04UepBx4HfTBNuS8yTHr3i6nnzLx4E30oPFGr0QZq4nuvXahOtNGM6ksavvlQQmL3iuOBBpfk5eYhfaKqFC9zVLk_CNHZQWjNkat61MTIRiIVCeTvaSLLdOmgc9PgbESz7xnmyNShrr/s774/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20walking%20through%20the%20rubble%20of%20postwar%20Berlin.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="590" data-original-width="774" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuFnctGaOmZ5dC9HZV96mXMvZWeN51fnAA5Qi2OxtDwmdTGssz04UepBx4HfTBNuS8yTHr3i6nnzLx4E30oPFGr0QZq4nuvXahOtNGM6ksavvlQQmL3iuOBBpfk5eYhfaKqFC9zVLk_CNHZQWjNkat61MTIRiIVCeTvaSLLdOmgc9PgbESz7xnmyNShrr/w400-h305/The%20Murderers%20Are%20Among%20Us_Hans%20Mertens%20walking%20through%20the%20rubble%20of%20postwar%20Berlin.png" width="400" /></a></b></div><b><br /><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Murderers Are Among Us</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is
considered the first of what would eventually be called the rubble films, and I
think it is one of the best. In just under eighty-one minutes, several stories
and themes are successfully interwoven to depict postwar conditions in Europe.
Each of the characters handles the pressures in their own ways, each different
and, I suspect, representative of the reality at the time. It’s a hard film to
watch—and not just because of the deplorable conditions in postwar Europe. The
characters must learn to hope again, even though they face never-ending
deprivation and life-or-death choices in peacetime. It is a reminder that it
could happen again, that it is happening today in Ukraine. That is a very
sobering realization.</span></b><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">October 15, 1946, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Directed by Wolfgang Staudte<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Wolfgang Staudte<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Music by Ernst Roters<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited by Hans Heinrich<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Cinematography by Friedl Behn-Grund, Eugen Klagemann</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Hildegard Kner as Susanne Wallner<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Ernst Wilhelm Borchert as Dr. Hans Mertens<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Arno
Paulsen as Captain Ferdinand Brückner<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Robert Forsch as Gustav
Mondschein<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Albert Johannes as Bartholomäus Timm<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Ursula Krieg as Carola Schulz<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Wolfgang Dohnberg as Fritz
Knochenhauer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Erna Sellmer as Elise Brückner<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Michael Günther as Herbert Brückner<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Christian Blackwood as Otto
Brückner<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Hilde Adolphi as Daisy<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Marlise Ludwig as Sonja<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Elly Burgmer as Edith’s mother<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Ernst Stahl-Nachbaur as Arzt<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Wanda Peters as Schwester<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Christiane Hanson as Dienstmädchen<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Käthe Jöken-König as Kundin</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Produced by DEFA Studios</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com4tag:blogger.com,1999:blog-9001384737868808902.post-59717107049251771992023-07-16T18:49:00.001-04:002023-08-11T20:18:17.443-04:00Berlin Express (1948)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">My last article about
<a href="http://makeminefilmnoir.blogspot.com/2023/07/the-search-1948.html" target="_blank"><i>The Search</i> (1948)</a> seems to have started a trend for me: watching postwar
films shot on location in Europe amid the rubble and destruction of World War
II. <i>Berlin Express</i> is definitely one of those films. In fact, it was the
first U.S. film to be shot in Germany after the war, and it makes use of
locations to highlight its story of postwar espionage and the ongoing threat of
Nazi terrorism.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_AdR0DcTOmAfo7jA1HTlN6ZPDZkcWkG8Bg3BJnW1wXaxkDsdtTC046PeFHuCF_GZ8hE_hHUpIUWbkMZP6olv30-pXP7UsFi2sBNZFLMpZfuh4MXEcMzzOLekSEywUxkgDD04kFsWnRk8fVk-YkVplYVZRHJWRxBEhH4y7uUWeT02HmtCixBL-yZ49MfZ0/s686/Berlin%20Express_Bombed%20buildings%20in%20postwar%20Frankfurt_I.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="686" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_AdR0DcTOmAfo7jA1HTlN6ZPDZkcWkG8Bg3BJnW1wXaxkDsdtTC046PeFHuCF_GZ8hE_hHUpIUWbkMZP6olv30-pXP7UsFi2sBNZFLMpZfuh4MXEcMzzOLekSEywUxkgDD04kFsWnRk8fVk-YkVplYVZRHJWRxBEhH4y7uUWeT02HmtCixBL-yZ49MfZ0/w400-h299/Berlin%20Express_Bombed%20buildings%20in%20postwar%20Frankfurt_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Neither <i>The
Search</i> nor <i>Berlin Express</i> were the first films shot on location amid
the ruins of war if foreign films are considered. Roberto Rossellini shot <i>Rome
Open City</i> (1945) and <i>Paisan</i> (1946), the first two of his war
trilogy, on location in postwar Italy. Both films were released before 1948.
The third film in Rossellini’s trilogy, <i>Germany Year One</i> (1948), was
released the same year as <i>The Search</i> and <i>Berlin Express</i>. <i>The
Murderers Are Among Us</i>, the English-language translation of the title of
the German film <span class="js-about-item-abstr"><i>Die Mörder sind unter uns</i>,
was released in 1946 and is credited with being the first rubble film.</span></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The opening
credits of <i>Berlin Express</i> appear over shots of the ruins in post–World
War II Germany. Included in the </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">opening credits is a
full-screen notice that reads: “Actual scenes in Frankfurt and Berlin were
photographed by authorization of the United States Army of Occupation, the
British Army of Occupation, the Soviet Army of Occupation.” A voice-over
narrator provides additional background information and fills in some details
about what is shown on the screen. This semidocumentary style is maintained
throughout the film, with the narrator commenting, for example, on some parts
of the two German cities that were spared because of Allied interest in using
them after the war and on what daily life was like after the war ended.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The story actually
starts in Paris. Journalists are turned away from a meeting in Paris held by the
United Nations to learn about a fact-finding report written by Dr. Heinrich
Bernhardt about postwar plans to restore Germany and all of Europe. Robert J.
Lindley, a U.S. agricultural expert sent to Europe to help with postwar
reconstruction, wanders past the gate where the journalists are clamoring for
admittance.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Because so
much of the film was shot on location and because the voice-over narrator
provides so many facts about the postwar situation in Germany, I began to
wonder if Dr. Heinrich Bernhardt was based on a real person writing at the end
of World War II. I did a bit of research for <i>Berlin Express</i> and could
find nothing to confirm this theory, so I decided to search online for the
character’s name, Heinrich Bernhardt, on the assumption that maybe the name had
not been changed for the purposes of the story. I found a Heinrich Bernhard
Oppenheim, and his story is a bit similar to the character portrayed in the
film, but he died before World War I. It’s still possible that Heinrich
Bernhardt Oppenheim was the inspiration for Dr. Heinrich Bernhardt. Click <a href="https://en.wikipedia.org/wiki/Heinrich_Bernhard_Oppenheim" target="_blank">here</a> for
more information at Wikipedia. The Wikipedia article needs additional
verification, but it is a good place to start if you are interested in the
history behind the narrative.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The film cuts to some
intrigue concerning a note written in German found on a pigeon: “21:45 D 9850
Sulzbach.” The woman who finds the note is alarmed. Modern-day viewers might
wonder about her level of concern, but most people in the postwar era were
probably aware of Nazi survivors’ hopes of rebuilding Germany according to
Hitler’s designs and wishes. This Parisian woman takes the message to law
enforcement, and it isn’t long before international authorities are involved,
too.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4A7o6v-wVFS-0er-NR0ImItPCZ3WxmxIjpDDjK4yeO4eGErGlHZafpCjgtXYgvpTmY1CAx-O2h5K3vXheGmqyf75AjtKo22ngG9pUws8un8oQ37S1S40nac8whbq02JePHlAPXUmTRiDzxrcrvhbhi_dWOBBP_jqvM_L6qdOX66zPpAWurCxCUM3gmDoX/s785/Berlin%20Express_Lucienne,%20Lieutenant%20Maxim,%20James%20Sterling,%20Henri%20Perrot,%20and%20Robert%20Lindley%20looking%20for%20Heinrich%20Bernhardt%20in%20Frankfurt.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="785" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4A7o6v-wVFS-0er-NR0ImItPCZ3WxmxIjpDDjK4yeO4eGErGlHZafpCjgtXYgvpTmY1CAx-O2h5K3vXheGmqyf75AjtKo22ngG9pUws8un8oQ37S1S40nac8whbq02JePHlAPXUmTRiDzxrcrvhbhi_dWOBBP_jqvM_L6qdOX66zPpAWurCxCUM3gmDoX/w400-h299/Berlin%20Express_Lucienne,%20Lieutenant%20Maxim,%20James%20Sterling,%20Henri%20Perrot,%20and%20Robert%20Lindley%20looking%20for%20Heinrich%20Bernhardt%20in%20Frankfurt.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The film then cuts to
someone named Hans Schmidt, who wants to buy a train ticket from Paris for
Frankfurt. Travel throughout Europe immediately after the war is severely
restricted; in Germany, travel by rail is almost impossible because so much of
the infrastructure has been destroyed. The clerk behind the window states that
Schmidt has not been approved, but the clerk makes a phone call and Schmidt is
eventually allowed to continue on his way. The film is then careful to
introduce all the main players, which the voice-over narrator does rather
deftly as they board a train. In addition to the German characters, all the
train passengers represent an international lot that includes the World War II
Allied Powers:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Robert J. Lindley, from Quincy, Illinois; U.S.
agricultural expert</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Lucienne, from Lyons, France, secretary to Dr. Bernhardt
(Lucienne has a last name that I think is spelled Mieurbeau, but I couldn’t
find it on any cast lists for this film</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Henri Perrot, from Paris, former member of the French
underground, now working in commerce</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Dr. Heinrich Bernhardt, author of a plan to unify Germany</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Otto Franzen, from Frankfurt, Germany; former industrialist,
now a scrap iron dealer</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">James Sterling, from Liverpool, soldier at Dunkirk, now a
schoolteacher</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Hans Schmidt, from Munich (the train whistle drowns out
the narrator at this point, but he receives the same coded message that was discovered
on the pigeon earlier)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Lieutenant Maxim, from Moscow, military aide to Russian
occupation authorities (Maxim is another character with a last name that I
couldn’t find on any cast lists for this film, and I think it is spelled Gerashilov)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">(This article about <i>Berlin
Express</i> contains some spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">A horse-drawn cart
laden with logs is stuck on the railroad tracks at Sulzbach, and viewers know
right away that a sinister plot is afoot. Not long after the train is forced to
stop, Dr. Bernhardt’s rail compartment is blown up and he is killed. All the
passengers on the train car with Dr. Bernhardt are under arrest for questioning.
When the train arrives in Frankfurt, they are to report to U.S. authorities for
questioning. U.S. forces have taken over the IG Farben headquarters, once home
to one of Germany’s war materiel producers. The IG Farben building, a state-of-the-art
complex, was spared by the Allied bombers because it was intended to be used as
Allied occupation headquarters after the war. Viewers get a history lesson
about these details while the train’s passengers, now on a bus, are taken to
the IG Farben complex.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4IMMym2YBCQfWdwNPsu-OX2HOi1zwPNpJv23Out79l-ASXVjLw5G-vz5Xwy4QF9gMph-Gccr7X_HjcwqsVgoityFwzn7PLbbwA3OPrtyMGB3OFqP_GEuBjWPYMFopID8a1jbQnsS6g8vfyTh5wc1z5e53-Ez0Eab482CXFNkZM1xD9K0JOAHO4_uxh4L/s786/Berlin%20Express_IG%20Faben%20building%20with%20bombed-out%20rubble%20in%20the%20foreground_In%20the%20distance%20is%20the%20bus%20carrying%20the%20passengers%20who%20were%20on%20the%20train%20during%20the%20bombing%20of%20Dr.%20Bernhardt's%20compartment.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="786" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4IMMym2YBCQfWdwNPsu-OX2HOi1zwPNpJv23Out79l-ASXVjLw5G-vz5Xwy4QF9gMph-Gccr7X_HjcwqsVgoityFwzn7PLbbwA3OPrtyMGB3OFqP_GEuBjWPYMFopID8a1jbQnsS6g8vfyTh5wc1z5e53-Ez0Eab482CXFNkZM1xD9K0JOAHO4_uxh4L/w400-h299/Berlin%20Express_IG%20Faben%20building%20with%20bombed-out%20rubble%20in%20the%20foreground_In%20the%20distance%20is%20the%20bus%20carrying%20the%20passengers%20who%20were%20on%20the%20train%20during%20the%20bombing%20of%20Dr.%20Bernhardt's%20compartment.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Once the interviews
are complete and the passengers are free to go, they are drawn again into
intrigue and threats of violence. Lucienne begs them to join her and protect
Bernhardt, who is alive because the plot to kill him was intercepted. They all
agree eventually. Some are more reticent than others, but the group that does
help Lucienne includes at least one representative from each Allied Power:
France, Great Britain, the Soviet Union, and the United States. They travel as
best they can through the rubble of Frankfurt trying to outwit Nazi terrorists
who want to thwart Bernhardt’s plans and to restore the Third Reich under new
leadership.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTs_jsA0eunHTEKbLZB_6Rxc5B3eLEmxGmovdcYjup5Jp0HI8CHLNDnG0Gv_AHAjfD8xDa-8hqv9FwI_3FXmoouL3iqovLK9lDiEFRHcWGIXdwZMICOlv68EFfyEMFAlGfyoCW1FxQ7mYEAXGYeckdqkyxulrv9L91fU0Be6CLleZ4mD6VtboeWmnHSyD4/s787/Berlin%20Express_Heinrich%20Bernhardt%20explains%20to%20Colonel%20Johns%20and%20Lucienne%20why%20he%20must%20continue%20on%20and%20deliver%20his%20report%20to%20the%20Allied%20Powers.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="787" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTs_jsA0eunHTEKbLZB_6Rxc5B3eLEmxGmovdcYjup5Jp0HI8CHLNDnG0Gv_AHAjfD8xDa-8hqv9FwI_3FXmoouL3iqovLK9lDiEFRHcWGIXdwZMICOlv68EFfyEMFAlGfyoCW1FxQ7mYEAXGYeckdqkyxulrv9L91fU0Be6CLleZ4mD6VtboeWmnHSyD4/w400-h299/Berlin%20Express_Heinrich%20Bernhardt%20explains%20to%20Colonel%20Johns%20and%20Lucienne%20why%20he%20must%20continue%20on%20and%20deliver%20his%20report%20to%20the%20Allied%20Powers.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Berlin Express</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> could very easily belong in many categories: spy film,
film noir, drama, rubble film (or Trümmerfilm). I’m not a big stickler about
categories to begin with, and putting the film into all four wouldn’t bother me
in the least. I have seen the film several times, and it is definitely one that
benefits from repeat viewings, especially for viewers in 2023, when the events
of the World War II and the immediate postwar era would be more like history
lessons. The voice-over narrator provides a lot of historical detail, which is
definitely a plus for viewers of any era, but he supplies some poignant human
interest, too.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">According
to <a href="https://en.wikipedia.org/wiki/Tr%C3%BCmmerfilm" target="_blank">Wikipedia</a>, rubble films were “made directly after World War II [and dealt]
with the impact of the battles in the countries at the center of the war. The
style was mostly used by filmmakers in the rebuilding film industries of
Eastern Europe, Italy, and the former Nazi Germany. The style is characterized
by its use of location exteriors among the ‘rubble’ of bombed-down cities to
bring the gritty, depressing reality of the lives of the civilian survivors in
those early years.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Berlin Express</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">, like <i>The Search</i>, is firmly rooted in its time
period. Postwar viewers would have known why U.S. soldiers and officers were
stationed in Europe after the war ended and would have understood the backstory
for the characters, both military and civilian, that is assumed in the film
(and if not assumed, then explained by the voice-over narrator). The film also
uses terms and abbreviations that viewers at the time would have known and
understood, but that’s not true for viewers in 2023. One example is USFET (United
States Forces, European Theater). Click <a href="https://en.wikipedia.org/wiki/European_Theater_of_Operations,_United_States_Army" target="_blank">here</a> for a more detailed explanation at
Wikipedia.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Berlin Express</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> ends on a very optimistic note about the prospects for
unity and peace after the war. After the Cold War, and especially now after
Putin’s invasion of Ukraine, that optimism seem especially misplaced. But
perhaps it wouldn’t be on the personal level that is shown in the film. The
four protagonists, the American, the Englishman, the Russian soldier, and the
French woman (all of whom represent symbolically the members of the Allied
Powers), are all hopeful that they can keep in touch and remain on friendly
terms. And that certainly is a bit more plausible.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">May 7,
1948, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Jacques Tourneur<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Screenplay by Harold Medford<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Based on a story by Curt
Siodmak<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Frederick Hollander<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Edited by Sherman Todd<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Lucien Ballard</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Merle Oberon as Lucienne<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Robert Ryan as Robert J. Lindley<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Charles Korvin as Henri
Perrot<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Paul Lukas as Dr. Heinrich Bernhardt<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Robert Coote as James
Sterling<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Reinhold Schünzel as Johann Walther<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Roman Toporow as Lieutenant Maxim, Russian soldier<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Peter von Zerneck as Hans Schmidt<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Otto Waldis as Kessler<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Fritz Kortner as Otto Franzen<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Michael Harvey as Sergeant
Barnes<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Tom Keene as the major<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Charles McGraw as USFET Colonel Johns<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Marle Hayden as Maja, the nightclub mind reader<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Stewart as the narrator</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by RKO Radio Pictures, Inc.<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by RKO Radio Pictures,
Inc.</span></b>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com2tag:blogger.com,1999:blog-9001384737868808902.post-78744549324033740162023-07-03T18:02:00.000-04:002023-07-03T18:02:57.958-04:00The Search (1948)<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
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mso-para-margin:0in;
mso-pagination:widow-orphan;
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mso-bidi-font-size:11.0pt;
font-family:"Times New Roman",serif;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Search</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is a moving and compassionate portrayal of childhood
during wartime. It was filmed on location and shows a sliver of postwar life in
a German city that was reduced to rubble during World War II. If the film had been
shot in color instead of black and white, its location shots probably wouldn’t
look any different from the scenes on the nightly news today about the war in
Ukraine.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7CGcjRSoE2Hgi2eaStNe3ThI28IGwXLVK6dpPJmsavPSrU8VEe4BvRNCIXw8VaCNdIvqjgOue6sWyHFcZEgCdBCPKZyn94ZbGDa4ILr-C2E8T2iAKoVESLGtVGVgTO-WmGlRL-GLHdaM0SD-XCpeTwP9CgNWVi4vlkuF7zbGBj8Pqdtr9ry9Wwm12REaC/s636/The%20Search_Karel%20and%20his%20friend%20escaping%20through%20the%20rubble.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="636" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7CGcjRSoE2Hgi2eaStNe3ThI28IGwXLVK6dpPJmsavPSrU8VEe4BvRNCIXw8VaCNdIvqjgOue6sWyHFcZEgCdBCPKZyn94ZbGDa4ILr-C2E8T2iAKoVESLGtVGVgTO-WmGlRL-GLHdaM0SD-XCpeTwP9CgNWVi4vlkuF7zbGBj8Pqdtr9ry9Wwm12REaC/w400-h298/The%20Search_Karel%20and%20his%20friend%20escaping%20through%20the%20rubble.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The story in <i>The
Search</i> starts in a semidocumentary style with a voice-over narrator in a
partially bombed-out train station in an unnamed German city. (The actual
location was Nuremberg.) The female voice-over narrator (who I believe is Aline
MacMahon, who plays Mrs. Murray) explains a little bit about the children arriving
at the station and their plight. The most important point she makes is this:
“The war is over, but want and suffering have not come to an end in Europe.”
Rebuilding would take years, and it’s a detail that I recall being glossed over
in the history books that I read as a child learning about World War II. Perhaps
the United States could go right back to normal life in 1945, but Europe and
Russia didn’t have that luxury.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">(This article about <i>The
Search</i> contains some spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
refugee children, who come from all over Europe, are met by United Nations
Relief and Rehabilitation Administration (UNRAA)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">
personnel. They are ushered into an interviewing room, and a few example
interviews are presented. Children from France, Poland, and Hungary explain
their short history and life experience. All of them are heart-wrenching, but
one in particular is especially sad:</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> A young girl explains being forced into slave labor
at a concentration camp, where she sorted clothing taken from prisoners burned at
the crematorium. While doing this work, she found her mother’s clothes.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkRrvQuVoUYy-Ci5CQ0XSLFg_6s98PQ05Fh4SoR_uZl1XjU6u_mgIeCLQbNmdqOpiNUsO9c5AXAVRU8GrIc9egXJwiQA1j0GRlIihSW-ZLBu7zjPSZC9oppkQ5vjubz_kg_eICoE7jSf1O2PYB3_iO3xcOZ4F-KPsiC75kQCJEuY8B3skOE7JXahUB9Dyq/s637/The%20Search_The%20refugee%20children%20arrive%20at%20a%20UNRRA%20transfer%20station%20at%20the%20start%20of%20the%20film.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="637" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkRrvQuVoUYy-Ci5CQ0XSLFg_6s98PQ05Fh4SoR_uZl1XjU6u_mgIeCLQbNmdqOpiNUsO9c5AXAVRU8GrIc9egXJwiQA1j0GRlIihSW-ZLBu7zjPSZC9oppkQ5vjubz_kg_eICoE7jSf1O2PYB3_iO3xcOZ4F-KPsiC75kQCJEuY8B3skOE7JXahUB9Dyq/w400-h300/The%20Search_The%20refugee%20children%20arrive%20at%20a%20UNRRA%20transfer%20station%20at%20the%20start%20of%20the%20film.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Karel
Malik, from Czechoslovakia, is also part of this large group of orphaned,
homeless, frightened children. He doesn’t speak except to say, “I don’t know.”
A flashback explains to viewers his identity and his circumstances during the
war. Another boy with him is a friend who looks after him. They are
inseparable, and when one decides to run away because the children fear that
they are being taken back to the concentration camps, the other follows.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In a
separate narrative thread, Karel’s mother Hanna is still searching for her son.
She and other survivors walk along p</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">arallel
roads built by the Germans (which Eisenhower would later replicate in the
highway system in the United States). Many survivors walk these roads, looking
for family members. She learns that her husband and daughter were murdered, and
she can find no trace of her son Karel. N</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">either Hanna nor Karel knows what happened to the
other. The two stories are told separately but with some overlap because Mrs.
Malik arrives at the UNRAA center where her son first arrived. They don’t meet
right away because Karel had already run away by the time his mother had
arrived.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Karel finds Steve
Stevenson, a U.S. soldier sitting in a jeep and eating a sandwich. Karel
approaches cautiously because he is still so fearful, but his hunger makes him
desperate. Steve tosses his half-eaten sandwich to Karel, then leaves another
whole sandwich for him. Steve turns his jeep around; catches Karel when he
scrambles for the food; and brings him back to his billet, which is a house
that survived the Allied bombing. Karel cannot remember much, not even his
name, so Steve starts calling him Jim.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaeL-rAg3zy-iaqCXKtGh0a4DxCxL31rGdsqLAGvZqM7l5mOyOX3RWGEwKTWJAMfEs2j5P_ARavD6L36q50fsp6FbRlXzuYgNwW6st_Nvwx9kKlvkA60vuWUt93Cka0twIHf7CK07tn4iAjCWCaS7QmPFfLht7F2T0YAnysU9ebq-S0irbwPxcwAG1bafm/s637/The%20Search_Karel%20and%20Steve_Steve%20tries%20to%20get%20Karel%20to%20talk.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="637" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaeL-rAg3zy-iaqCXKtGh0a4DxCxL31rGdsqLAGvZqM7l5mOyOX3RWGEwKTWJAMfEs2j5P_ARavD6L36q50fsp6FbRlXzuYgNwW6st_Nvwx9kKlvkA60vuWUt93Cka0twIHf7CK07tn4iAjCWCaS7QmPFfLht7F2T0YAnysU9ebq-S0irbwPxcwAG1bafm/w400-h301/The%20Search_Karel%20and%20Steve_Steve%20tries%20to%20get%20Karel%20to%20talk.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Steve wants to do all
he can for Karel and takes him under his wing. He teaches him English, feeds
and houses him, and attempts to find any of his family or relatives. He
gradually becomes attached to him and would rather bring him home to the United
States than leave him in Germany. Steve and his commanding officer Jerry Fisher
find a number tattooed on Karel’s arm: A 24328. Now they know that he was once
a prisoner at Auschwitz. Steve writes to UNRRA Central Tracing Bureau, asking
them to find surviving relatives of a boy with the number A 24328. The title of
the film could apply to Steve’s search on Karel’s behalf and to Hanna Malik’s
search for her son, the only other member of her immediate family to have
survived the war.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Search</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> is a 1948 Swiss-American film that could very easily
belong in many categories: film noir, drama, rubble film (or Trümmerfilm). I’m
not a big stickler about categories to begin with, and putting the film into
all three wouldn’t bother me in the least. I have seen <i>The Search </i>several
times, and it seems to be more poignant with repeat viewings. Did I miss some
details the first time? Was it just too difficult to take in all the misery,
even though the film is fictional? I enjoy seeing postwar films shot on
location, but the rubble films are especially difficult. These types of film
are history lessons about what life was like at the time, and it’s not an easy
topic to sell as entertainment.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">According
to <a href="https://en.wikipedia.org/wiki/Tr%C3%BCmmerfilm" target="_blank">Wikipedia</a>, <span style="mso-spacerun: yes;"> </span>rubble films were “made
directly after World War II [and dealt] with the impact of the battles in the
countries at the center of the war. The style was mostly used by filmmakers in
the rebuilding film industries of Eastern Europe, Italy, and the former Nazi
Germany. The style is characterized by its use of location exteriors among the
‘rubble’ of bombed-down cities to bring the gritty, depressing reality of the
lives of the civilian survivors in those early years.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The Search</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"> in particular is firmly rooted in its time period. By
that, I mean that postwar viewers would have known why U.S. soldiers and
officers were stationed in Europe after the war ended and would have understood
the backstory for the main characters that is assumed in the film. The film
also uses terms and abbreviations that viewers at the time would have known and
understood, but that’s not true for viewers in 2023. Here are a couple of
examples (click on each for more detailed explanations at Wikipedia):</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"><a href="https://en.wikipedia.org/wiki/International_Refugee_Organization" target="_blank">International Refugee Organization</a> (IRO)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;">◊ </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><a href="https://en.wikipedia.org/wiki/United_Nations_Relief_and_Rehabilitation_Administration" target="_blank">United Nations Relief and Rehabilitation Administration</a> (UNRAA)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
United States Holocaust Memorial Museum also has a page devoted to UNRAA. Click
<a href="https://encyclopedia.ushmm.org/content/en/article/united-nations-relief-and-rehabilitation-administration" target="_blank">here</a> for more information.</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">Montgomery Clift
gives a great performance as the compassionate U.S. soldier Steve who wants to
take care of the young boy he meets in the rubble. Wendell Corey plays his
commanding officer, and the two of them have a couple of conversations that briefly
summarize the predicament that many U.S. army personnel found themselves in at
the time: They are surrounded by misery and desperation, and they want to help
in any way they can. But they can help the most people if they try to keep
their personal feelings out of the work and carry on every day doing what they
were sent to Europe to do.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy62VPkW48VGDfgTCwYVQAPnolcRRlTjDeMAcrDYikmQZX747_g0-jXmntv_spwa8fyckO1_p4vaS6RMN0SbQBibRd35ZOh9Jn0SNiupcrbWf7EwAGSk6I674mRFovKctIlckR7CBmFYz1PH7aRryz88n3z6QnbCgJpK4aeTd4kEDrmb3LJPE5bn9WbaMl/s533/The%20Search_Karel%20runs%20off%20to%20find%20his%20mother_VI_good%20close-up%20too.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="533" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy62VPkW48VGDfgTCwYVQAPnolcRRlTjDeMAcrDYikmQZX747_g0-jXmntv_spwa8fyckO1_p4vaS6RMN0SbQBibRd35ZOh9Jn0SNiupcrbWf7EwAGSk6I674mRFovKctIlckR7CBmFYz1PH7aRryz88n3z6QnbCgJpK4aeTd4kEDrmb3LJPE5bn9WbaMl/w400-h320/The%20Search_Karel%20runs%20off%20to%20find%20his%20mother_VI_good%20close-up%20too.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">The greatest
performance is from the young boy who plays Karel Malik: Ivan Jandl. According
to <a href="https://en.wikipedia.org/wiki/Ivan_Jandl" target="_blank">Wikipedia</a>, he knew no English before being chosen for this role. He gives an
amazing performance, and it’s heartbreaking to think that such a young child,
the actor himself, could probably base his character on his own experiences.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">March 23,
1948, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Fred Zinnemann<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by Richard Schweizer, David Wechsler, Paul Jarrico, Montgomery Clift, Betty
Smith<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Music by Robert Blum<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited by Hermann Haller<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography
by Emil Berna</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Montgomery Clift as Ralph (“Steve”)
Stevenson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Aline MacMahon as Mrs. Murray<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jarmila
Novotná as Mrs. Hanna Malik<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Wendell Corey as Jerry Fisher<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ivan
Jandl as Karel (“Jim”) Malik<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mary Patton as Mrs. Fisher<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ewart
G. Morrison as Mr. Crookes<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>William Rogers as Tom Fisher<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Leopold
Borkowski as Joel Markowsky<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Claude Gambier as Raoul Dubois<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Fred
Zinneman as the interpreter</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Loew’s International, Inc.<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced
by Praesens-Film, Zurich, Metro-Goldwyn-Mayer</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-3874490375736618122023-06-20T19:11:00.002-04:002023-06-23T09:00:05.421-04:00Deadline at Dawn (1946)<p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">I really enjoyed this
film. <i>Deadline at Dawn</i> is the film adaptation of the novel by Cornell
Woolrich, which I also enjoyed. The film makes so many changes to the plot in the
novel that I can’t even say it’s helpful to read the novel before seeing the
film!</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKT-OITJKZb5keYVY6kakXJvbZXWDSza_gbbLV7iUZXCci1R7fk960f9sKlWac2DG2fmBxeaomQvTW_ZhmpejL-9eQ2pX6UTT4bLqRkGSAloMl6nsszgfWULXxRkaR-bipi5JuePPgiWT5AXapd8Sf2YRHgdt-PQ-cAXt5LTQQVbUkgk1jrNbuxeIGJmEn/s786/Deadline%20at%20Dawn_Alex%20Winkler%20and%20June%20Goffe%20are%20in%20Edna%20Bartelli's%20apartment%20looking%20at%20her%20dead%20body.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="786" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKT-OITJKZb5keYVY6kakXJvbZXWDSza_gbbLV7iUZXCci1R7fk960f9sKlWac2DG2fmBxeaomQvTW_ZhmpejL-9eQ2pX6UTT4bLqRkGSAloMl6nsszgfWULXxRkaR-bipi5JuePPgiWT5AXapd8Sf2YRHgdt-PQ-cAXt5LTQQVbUkgk1jrNbuxeIGJmEn/w400-h299/Deadline%20at%20Dawn_Alex%20Winkler%20and%20June%20Goffe%20are%20in%20Edna%20Bartelli's%20apartment%20looking%20at%20her%20dead%20body.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Click <a href="http://makeminefilmnoir.blogspot.com/2023/06/deadline-at-dawn-book-1944.html" target="_blank">here</a>
to read my article about the novel, which has the same title as the film, by
Cornell Woolrich.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Deadline at Dawn</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> opens with a hallway and the stairs leading up to it.
The credits start quickly while the camera stays on this shot. A blind man taps
his way up the stairs toward the camera, turns, walks down the hall away from
the camera, and knocks on the door farthest from the camera: a great
introduction that could be missed if viewers are paying more attention to the
credits than to the action. The blind man could be a metaphor for the film’s
viewers, who will be following the plot blindly, without knowing where it will
lead. I didn't know what to expect the first time that I saw it.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">As soon
as the credits finish, the camera is close to the blind man knocking. He
awakens a woman, Edna Bartelli, who opens the door and lets him into her
apartment. She calls the man Sleepy Parsons. He’s her ex-husband, and he wants
the $1,400 that she owes him. But she says that she doesn’t have it, that the
sailor she met earlier must have stolen it. Sleepy Parsons doesn’t believe her
and sits down on her bed.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">After the
sequence between the blind man and a woman named Edna, the camera dissolves
from Sleepy Parson’s boutonniere to a sailor’s hat. What’s missing in between? Viewers
have no idea, and they won’t find out until all the plot details are woven
together at the end.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Alex
Winkler, a sailor, is recovering from a drinking bout in a newspaper kiosk on a
city street. Ray, the newspaper vendor, is allowing him to stay until he can get
back on his feet. When Alex gets up and decides to leave, he accidentally drops
a wad of bills, and Ray returns it to him. The sailor doesn’t recognize it, but
he takes it because he thinks getting so drunk made him forgetful. Ray also
reminds Alex to take his radio; it is part of his military gear because he is a
radio technician. Alex does remember that he has seven hours before his bus
leaves for Norfolk, Virginia, where he must report for duty.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSIcmkipteh1_JH_JDzyOjudSSQ6ERwUW1pYgsLZjGQIE2ghkIli_Zaeoi2zJLB81Zr9VjnwDl8cgrhV-uuI2aHAg0UNHMWEf-yTgNDie-3L2j0ZMrZyoDcb75Nn8SGplc48fi5As85xYP8BlH2rdSO4astEwMHf8zuIDF36UNqvFCqMG23buqVg7UT0Y/s786/Deadline%20at%20Dawn_June%20Goffe%20and%20Alex%20Winkler%20right%20after%20meeting%20at%20the%20dance%20hall%20where%20June%20works.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="786" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSIcmkipteh1_JH_JDzyOjudSSQ6ERwUW1pYgsLZjGQIE2ghkIli_Zaeoi2zJLB81Zr9VjnwDl8cgrhV-uuI2aHAg0UNHMWEf-yTgNDie-3L2j0ZMrZyoDcb75Nn8SGplc48fi5As85xYP8BlH2rdSO4astEwMHf8zuIDF36UNqvFCqMG23buqVg7UT0Y/w400-h299/Deadline%20at%20Dawn_June%20Goffe%20and%20Alex%20Winkler%20right%20after%20meeting%20at%20the%20dance%20hall%20where%20June%20works.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Alex is
planning on getting some fresh air, but the crowds on the New York City sidewalks
surround and sweep him along until he decides to enter a dance hall, where he
meets June Goffe. She is comfortable enough with him to invite him up to her
apartment for sandwiches (and nothing else, she tells him). Alex tells June
about the money he has and how he got it now that his memory is much clearer.
He got drunk at a restaurant where he met Edna Bartelli. Edna’s brother cheated
Alex when they started gambling together. Edna wanted Alex to come to her
apartment and fix her radio, but she refused to pay him for this work, and he
passed out from drinking too much. When he came to, he took the money because he
felt that Edna and her brother owed it to him.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">June
convinces Alex to return the money. Alex in turn convinces June to accompany
him. They arrive together at Edna Bartelli’s apartment building, and Alex goes
upstairs to the apartment while June plays lookout. She promises to turn on
Alex’s radio as a warning if anyone enters the apartment building. When Alex
returns, he tells June that he found the woman dead. June goes up to see for
herself, with Alex racing up behind her.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Alex and
June decide that they must find Edna Bartelli’s killer. They must do it before
dawn, when her body will probably be discovered, and they must do it before
Alex must board his bus and report for duty in Virginia. They will follow
different leads, each on their own to make better use of the time remaining to
them. They leave Edna’s apartment with two different missions and a common goal.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This
article about <i>Deadline at Dawn</i> contains spoilers for both the film and the novel.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Neither
one of them is successful with their slim clues, and both return to Edna’s
apartment. A cab driver, Gus Hoffman, who drove Alex and takes him back to
where they started, waits behind and sees that Alex is returning to Edna
Bartelli’s apartment; he waits long enough to see June return to the same
place. He comes up after Alex and June and knocks on Edna Bartelli’s front
door. June answers and says that she is Edna Bartelli, but Gus knows this isn’t
true. He doesn’t explain how he knows this, and June and Alex are too nervous
to ask him questions.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6O7-LM8gLkB4NXveNNSgnnr5uMNE0JCPr5BXi-no8SQvGCtMd7M2Ev5MdkPSV8-DXS7Vi1R4hMwPLqgzSlwDSzn-7TRFoyFgj64elFKRWkw2F6i5j0h5jiQnFpnGqJim45BrBEtgD6yYww2dg_i1EiG3G8cwkFK__CLwGarhf0iz0pjWUVe4gldwnVTDB/s782/Deadline%20at%20Dawn_Gus%20Hoffman,%20the%20cab%20driver,%20June%20Goffe,%20and%20Alex%20Winkler%20in%20Edna%20Bartelli's%20apartment.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="782" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6O7-LM8gLkB4NXveNNSgnnr5uMNE0JCPr5BXi-no8SQvGCtMd7M2Ev5MdkPSV8-DXS7Vi1R4hMwPLqgzSlwDSzn-7TRFoyFgj64elFKRWkw2F6i5j0h5jiQnFpnGqJim45BrBEtgD6yYww2dg_i1EiG3G8cwkFK__CLwGarhf0iz0pjWUVe4gldwnVTDB/w400-h300/Deadline%20at%20Dawn_Gus%20Hoffman,%20the%20cab%20driver,%20June%20Goffe,%20and%20Alex%20Winkler%20in%20Edna%20Bartelli's%20apartment.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Gus inserts
himself into the investigation and finds letters that Edna had written to
blackmail several men, including her own brother. He helps June and Alex out of
the kindness of his heart. He sees that they are falling in love and wants them to stay together. From this point onward, three people—June, Alex, and
Gus—are looking for clues and following up leads, which is a departure from the
novel, in which only two people are involved. The cab driver Gus has a very
important role in the film adaptation. There are several cab drivers in the
novel, but none of them are even given a name and none of them do any
investigating to help the main characters.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In the
novel, Alex Winkler is Quinn Williams, an out-of-work electrician’s assistant
who is desperate for cash. The story still takes place in New York City, but
the year is 1939, when the United States is still in the grip of the Great
Depression and has not yet become involved in World War II. The addition of Gus
Hoffman as a main character and the name and occupation changes aren’t the only
differences between the novel and the film. Stephen Graves is the murder victim
in the novel, and the murderer is a different character altogether in the film.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">At one
point, June becomes frustrated about the lack of progress in the investigation because
she wants to see Alex cleared of any wrongdoing. She and Gus, the cab driver,
are on one part of the search for clues in the murder investigation, and Gus
can see what June doesn’t realize quite yet: that she is falling in love with
Alex. Gus tells her, “The logic you are looking for, the logic is that there is
no logic. The horror and terror you feel, my dear, come from being alive. Die,
and there is no trouble. Live, and you struggle . . .” Gus’s speech to June
about the meaning of life, love, and logic seems to explain existential angst
in general (the underlying premise for almost all film noir) and the human
condition. His words don’t come from the novel, of course, because his
character doesn’t exist in it, but they seem to replace the views expressed by
Bricky Coleman, the name of the main female character in the novel: that the
city, New York City, is an evil place that defies logic, and if you stay in it
too long, it is almost impossible to escape.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK23P_fIA0Dv5qia3Fw7RuBtih4xgSqFOuldUb26l34l4iXdutcZ-Gf-z-8bkRsEEDoz_sKIFCYBB1iJQt_YSHENbHBqF3eRPDtHmEx872MlJpuOwfJLK_YIwcGrxCc5BVVI1X9ARTIEPpQSrbSQIIcYw85El1u1CZ44TU2wtNaIi8JrLzuUlWzJsrKUC1/s790/Deadline%20at%20Dawn_Lieutenant%20Kane%20gets%20Alex%20Winkler%20to%20admit%20that%20he%20doesn't%20remember%20what%20he%20did%20in%20Edna%20Bartelli's%20apartment%20for%20about%20an%20hour_Two%20detectives%20crowd%20Alex,%20noir%20style.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="790" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK23P_fIA0Dv5qia3Fw7RuBtih4xgSqFOuldUb26l34l4iXdutcZ-Gf-z-8bkRsEEDoz_sKIFCYBB1iJQt_YSHENbHBqF3eRPDtHmEx872MlJpuOwfJLK_YIwcGrxCc5BVVI1X9ARTIEPpQSrbSQIIcYw85El1u1CZ44TU2wtNaIi8JrLzuUlWzJsrKUC1/w400-h295/Deadline%20at%20Dawn_Lieutenant%20Kane%20gets%20Alex%20Winkler%20to%20admit%20that%20he%20doesn't%20remember%20what%20he%20did%20in%20Edna%20Bartelli's%20apartment%20for%20about%20an%20hour_Two%20detectives%20crowd%20Alex,%20noir%20style.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">By the
end of <i style="mso-bidi-font-style: normal;">Deadline at Dawn</i>, viewers see
the logic to the film’s plot. They (and the characters) are given a very
satisfying ending that may not appeal to fans of Woolrich’s novel, but it
explains everything. The novel does the same, but its conclusion and many of
the details leading up to it are so different. Both the film and the novel are
wonderful on their own merits. I am finding this true more and more often about
film noir adaptations. I usually enjoy a novel so much more, but the film noir
genre seems to have made adaptations a real art form. I enjoyed the changes in the
film version of <i>Deadline at Dawn</i> as much as the plot in the novel.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Release
dates: March 18, 1946 (Sweden), April 3, 1946 (United States)<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Directed by Harold Clurman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Clifford Odets<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Based on the novel <i>Deadline at Dawn</i> by Cornell Woolrich<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music
by Hanns Eisler, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">C. Bakaleinikoff<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Edited by Roland Gross<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Cinematography by Nicholas Musuraca</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Susan Hayward as June Goffe<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Lukas as Gus Hoffman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bill Williams as Alex Winkler<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Joseph Calleia as Val Bartelli<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Osa Massen as Helen
Robinson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Phil Warren as Jerry Robinson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Lola
Lane as Edna Bartelli<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jerome Cowan as Lester Brady<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Marvin Miller as Sleepy Parsons<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Roman
Bohnen as the man with the injured cat<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Steven Geray as Edward
Honig<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Joe Sawyer as Babe Dooley<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Constance Worth as Nan Raymond<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Joseph Crehan as Lieutenant Kane<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Byron Foulger as the night
attendant<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Eugene Pallette as a man in the crowd<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Jason Robards Sr. as a police officer</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by RKO Radio Pictures<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by RKO Radio Pictures</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com2tag:blogger.com,1999:blog-9001384737868808902.post-23983347087341914032023-06-07T18:02:00.001-04:002023-06-07T18:03:09.304-04:00Deadline at Dawn (Book) (1944)<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">The setting for <i>Deadline
at Dawn</i> is New York City. The time is 1939, when the United States is still
in the grip of the Great Depression, and the country has not yet become involved
in World War II. The setting and the place are revealed naturally in the course
of the narrative, but both are important for readers, especially contemporary
readers, because life was so different then. Forget the Internet; forget
smartphones. The two main characters don’t have access to either type of
technology.</span></b><p></p><p>
</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Readers
meet the taxi dancer first, and she is nameless at first. Her job is an
anachronism: Dance halls don’t exist anymore. On one particular night at work,
she meets a man, a dance partner, who gives his name as Quinn Williams. To her,
he is just another face, another problem looking to make more out of a dance,
but he fights off a masher outside the dance hall when she gets off work. He
walks her home to help keep her safe, and she still won’t tell him her name.
She does notice that he seems nervous. He keeps looking over his shoulder as
though someone is following him or her—or them. She tells him that the masher
won’t come back, but he insists that it’s not the masher that is on his mind.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
dancer and Quinn Williams part ways at the front entrance to her apartment
building. Once she is inside her apartment, the dancer can see, from one of her
windows, Quinn outside on the sidewalk, and she watches as he hides from a
patrol car. After that, he disappears from view because he has chosen to hide inside
the stairwell of her apartment building. She waits for him to return to the
street and to leave forever, but he never does. Against her better judgment, she
invites him in for a cup of coffee, nothing more.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">On a
table, Quinn Williams finds a letter that the dancer is still in the middle of
writing. The envelope is addressed to Glen Falls, Iowa, which astounds him
because that is his hometown. They quickly learn that both are from Glen Falls:
He lived on Anderson Avenue; she lived on the next street over, on Emmet Road.
She finally tells him her name: Bricky Coleman. Her real first name is Ruth,
but people started calling her Bricky because of the color of her hair.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
chapters in the novel are not numbered. Instead, each one starts with a
clockface. And here readers face another anachronism: The clockfaces are
analog, not digital. Bricky first meets Quinn at 12:50 a.m. in the dance hall,
and the analog clockface starts the novel at that point. The last one in the
novel reads 5:45 a.m., and the novel ends just ten or fifteen minutes later. The
entire novel occurs over a span of five hours and approximately five minutes.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Bricky holds
a very dim view of urban living and of living in New York City in particular.
She tells Quinn what she thinks of living in the city and why she has so much
trouble going back home to Iowa.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“. . . I don’t know fancy
language. I only know there’s an intelligence of its own hanging over this
place. Coming up from it. It’s mean and bad and evil, and when you breathe too
much of it for too long, it gets under your skin, it gets into you—and you’re
sunk, the city’s got you . . . Then it’s too late. Then you can go
anywhere—home or anywhere else—and you just keep on being what it made you from
then on.” (page 43)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Bricky
knows Quinn is hiding something; she knew that he was worried about something
even as he walked her to the front door of her apartment building. Quinn
finally admits that he is carrying a lot of money. He doesn’t say so; he just
takes money—$2,500.00 minus what little he has spent so far—out of the lining
of his coat. Things are tough in 1939 for Quinn Williams. He was an
electrician’s assistant until the business owner had a heart attack and closed
the business. But Quinn still had the front door key to the last job that they
did, at the home of the Graves family. He doesn’t know how the key ended up in
his toolkit, but that’s where he found it. He went back to the Graves home
intending to return the key, but he was desperate for cash, and he stole some
money from the safe in the Graves home. Quinn explains to Bricky how taking the
money from the Graves safe has affected him.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; text-indent: .5in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">. . . “And right away, I started to pay for it; boy,
how I paid for it. Before I spent a nickel of it or got a block away, I was
already paying for it through the nose. Until now, I’d owned the streets. That
was about all I’d had, but I’d had them, at least. I was hungry and broke and
jobless, but I looked everyone square in the face, I went anywhere I damn
pleased on them, the streets were mine. Now all of a sudden, the streets were
taken away from me, to stay on them too long became dangerous . . .” (pages
56–57)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Bricky
convinces Quinn to go back to the Graves home and return the money. She offers
to go with him, and then she and Quinn can go back home to Iowa. Quinn and
Bricky go to the Graves’s house to return the money, but Quinn finds one of the
Graves family, a man, dead inside. Bricky convinces him to go back inside with
her so they can find out what they can about the death. She is convinced that
she will never have the strength to return to Iowa if Quinn doesn’t go back
with her on the very next bus, which leaves at 6 a.m. Both are convinced that
Quinn looks like the guilty party, that he will be arrested for the suspicious
death inside the Graves house, and both become detectives to find the truth and
spare Quinn.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Their
decision alone seems improbable. Both are young and inexperienced. How will
they ever find out what they need to know? But that’s what both of them set out
to do, and readers have to be willing to go along and experience it with them.
It takes a certain kind of person to take on this much responsibility, but Bricky
and Quinn are equal to the task. They have more motivation than any reader:
Bricky and Quinn are falling in love. Quinn, for instance, has second thoughts,
but he decides that he cannot stop now because he doesn’t want to let Bricky
down.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">So he left
her, and he struck out down the night-charred street, thinking: Oh, this is
hopeless. It’s no use. Why not admit it, why not recognize it? If he’d been
alone in it, he would have gone over to the park and planked down on a bench
and waited for the daylight to come around, and for it to end that way. Or
maybe he would have even beat the daylight to it by . . . walking around to the
nearest police station and marching himself in.</span></b></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>But she was in it now, so he
didn’t. She was in it now, so he kept going . . . (page 110)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I enjoyed
Bricky and Quinn’s amateur investigation. It was difficult <i>not</i> to root
for them. I wanted them to return to Iowa and build a life together. </span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Cornell
Woolrich has a writing style that is clipped and bare bones; sometimes it seems
that he purposely dropped words and telescoped his prose so that readers
stumble a bit, which I found very distracting. But not all of that is the fault
of the writer. I found five typos in three short paragraphs early in this
particular edition of the novel. If readers are lucky, however, this series of
mystery and pulp novels—American Mystery Classics from Penzler Publishers—will
be a commercial success and all typos will be fixed in subsequent printings.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;">I saw the film noir
based on Woolrich’s novel (it goes by the same title: <i>Deadline at Dawn</i>)
many years ago, and I was looking forward to seeing it again now that I had
read the book. The film is very different from the novel in some ways, and I
had forgotten some great plot twists that are not part of the novel. The film
and the novel stand well on their own merits, which I am finding true more and
more often of novels and the films noir adapted from them.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Deadline
at Dawn</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">, by
Cornell Woolrich<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>New York: Penzler Publishers, 2022<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Originally
published in 1944<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Introduction by David Gordon</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">List of
main characters:</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>Bricky Coleman, taxi dancer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Quinn
Williams, unemployed electrician’s assistant<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Stephen Graves, oldest son in
the Graves family<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Roger Graves, Stephen’s younger brother<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Harriet
Graves, the matriarch<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mr. Carter, new father<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Helen
Kirsch<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Harry Kirsch, Helen’s husband<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Barbara, Stephen’s fiancée<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Arthur
Holmes, stockbroker<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Joan Bristol, vaudevillian<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Griff,
Joan’s boyfriend</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The image of the front
cover is from the 2022 edition from Penzler Publishers. The page references in
this article refer to the Penzler 2022 edition listed above.</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-50625601820049519782023-05-25T19:13:00.000-04:002023-05-25T19:13:46.293-04:00The File on Thelma Jordon (1950)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiRaueo7ZgBvniCZrYU2w5J-cQRY2L20or7EsgXo4vNJQVZlyZqCZGaWQUBghMwBCF54XqhaNuQHOrxNQJ59iBuScmnQlKdf9go2yzbLy905oWEjkU5opZaq9D3ieAfbwBpt_E8jvU2PXKfYf-vxZ8xroKlMFD2ZNyQLqRdxvlHtOKVZTS9Jfvtd4iPg/s769/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20meets%20Cleve%20Marshall%20in%20Miles%20Scott's%20office%20and%20mistakes%20him%20for%20Scott%20at%20first.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="586" data-original-width="769" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiRaueo7ZgBvniCZrYU2w5J-cQRY2L20or7EsgXo4vNJQVZlyZqCZGaWQUBghMwBCF54XqhaNuQHOrxNQJ59iBuScmnQlKdf9go2yzbLy905oWEjkU5opZaq9D3ieAfbwBpt_E8jvU2PXKfYf-vxZ8xroKlMFD2ZNyQLqRdxvlHtOKVZTS9Jfvtd4iPg/s320/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20meets%20Cleve%20Marshall%20in%20Miles%20Scott's%20office%20and%20mistakes%20him%20for%20Scott%20at%20first.png" width="320" /></a></div><p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Barbara
Stanwyck is the consummate femme fatale in <i>The Strange Love of Martha Ivers</i>
(1946). She plays another femme fatale in <i>The File on Thelma Jordon</i>, but
this time, she tries to turn herself around. Unfortunately for Thelma Jordon
and the man she has ensnared, Cleve Marshall, it’s a little bit too late for
both of them.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Click <a href="http://makeminefilmnoir.blogspot.com/2023/05/the-strange-love-of-martha-ivers-1946.html" target="_blank">here</a> for my article about <i>The Strange Love of Martha Ivers</i>.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The File on Thelma Jordon</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> starts
with Cleve Marshall driving down a street to the front of an office building at
night and walking </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">into Miles
Scott’s office. Miles Scott is the chief investigator for the district
attorney’s office; Cleve Marshall is an assistant district attorney; Melvyn
Pierce, district attorney, is their boss. Miles Scott is talking on the phone
with Pamela Marshall, Cleve’s wife. She is worried about Cleve and also angry
with him for not showing up for their anniversary party. Cleve complains to
Miles about his father-in-law always coming first in his wife’s affections and
starts drinking across the desk in Miles’s office. Meanwhile Miles tries to
placate Pamela, Cleve’s wife. Viewers can see from the start why Cleve Marshall
would start an affair, which is what he does soon after this setup.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Miles leaves
his office on a work assignment, and Cleve is left on his own to continue
drinking. Thelma Jordon arrives because she had an appointment with Miles. She
mistakes Cleve for Miles and starts talking about an attempted burglary at her
aunt’s home. Cleve doesn’t correct her right away. When he does, he also tries
to convince Thelma to go out for a drink with him. Thelma Jordon may have a
plan for Cleve, and she does go out for a drink with him, but they don’t start
their affair on this first date—not yet. Viewers can assume that Thelma is
playing hard to get, but she is really getting all the details right before she
plunges ahead with her scheme.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjDbh-k_PY7TWip5FDQVWUW_6L96VQ0etgPtIBZk9q3LxiGmOz0RjpjiqPHPsYQnPknDO5w7DWuwmBjug5hSzf4Z7g0xmsGAXeUmLKcwiJDQymOHvJJboxzSx5iYIXihVY6sy_i6P9jG68BQ-jBIGunVBgJwjwDbIKwUSJ9102tckdcVlTv8ALprgSYQ/s788/The%20File%20on%20Thelma%20Jordon_Cleve%20Marshall%20talking%20to%20Miles%20Scott%20in%20Scott's%20office.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="788" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjDbh-k_PY7TWip5FDQVWUW_6L96VQ0etgPtIBZk9q3LxiGmOz0RjpjiqPHPsYQnPknDO5w7DWuwmBjug5hSzf4Z7g0xmsGAXeUmLKcwiJDQymOHvJJboxzSx5iYIXihVY6sy_i6P9jG68BQ-jBIGunVBgJwjwDbIKwUSJ9102tckdcVlTv8ALprgSYQ/w400-h297/The%20File%20on%20Thelma%20Jordon_Cleve%20Marshall%20talking%20to%20Miles%20Scott%20in%20Scott's%20office.png" width="400" /></a></span></b></div><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">The File on Thelma Jordon</span></i></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> is available online for
free. Click <a href="https://archive.org/details/TheFileonThelmaJordanBarbaraStanwyck1950ripHJXvid2" target="_blank">here</a> to see it at the Internet Archive.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">A femme
fatale like Thelma Jordon can’t foresee everything in her way. Here are some
examples. A man, Tony Laredo, spots Thelma and Cleve kissing outside the gate
to her aunt’s house. He surprises Thelma after Cleve leaves, but she knows him
already. He’s an old friend, a partner in her illegal schemes. He has every
intention of joining her in her current plans. On her second date with Cleve,
she and Cleve drive to a lookout spot. They are followed by another man and
woman, who are also supposedly on a date, but the man writes down Cleve’s
license plate number. It doesn’t look like Tony Laredo, so someone else is
keeping tabs on Thelma Jordon. She also doesn’t suspect how much Sidney, the
caretaker on her aunt’s property, knows about her comings and goings.<span style="mso-spacerun: yes;"> </span>The phone extension put in Sidney’s
residence, which is on the property, was put in for Aunt Vera’s safety, and it
becomes a liability for Thelma. Sidney knows that Thelma has been getting calls
from one or more men using different names, but he doesn’t know who. This
mystery man eventually becomes Mr. X.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This
article about <i style="mso-bidi-font-style: normal;">The File on Thelma Jordon</i>
contains almost all the spoilers.)</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Things
really get sticky for Cleve when Thelma’s Aunt Vera is shot in what looks at
first like an attempted burglary. Thelma is frantic, and she convinces Cleve to
help her with the crime scene. She tells Cleve that she now suspects Tony
Laredo of burglary. Cleve leaves before the aunt’s body is discovered. Miles
Scott calls Cleve while he is vacationing with his family about the Vera
Edwards burglary and murder. Before he leaves his family, Cleve admits to his
wife that he’s been seeing someone else; he also tells his wife that he still
loves her. But his troubles are just beginning. Now Thelma wants Cleve to help
her during the police investigation, too.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRX343LvSq3RYYsznmUEeCWy_4M40DIlduVKfHJoyK5x-v_GB8Zb1zu7dlIH7Ee6nTcKxi4XqY9QQGk2MwyBYiRdTcazl1iMJN0lXlGozrSqKS1sYVjJeVLtH_Yy67KQK5cEBfClW3rc6mXayA6k4Pm91zQ8Q4-zurY-U9D48rB6Qrxom0sE2diuTFNA/s780/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20heads%20into%20the%20courtroom%20with%20her%20lawyer%20Kingsley%20Willis%20to%20hear%20the%20verdict%20in%20her%20murder%20trial_I.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="780" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRX343LvSq3RYYsznmUEeCWy_4M40DIlduVKfHJoyK5x-v_GB8Zb1zu7dlIH7Ee6nTcKxi4XqY9QQGk2MwyBYiRdTcazl1iMJN0lXlGozrSqKS1sYVjJeVLtH_Yy67KQK5cEBfClW3rc6mXayA6k4Pm91zQ8Q4-zurY-U9D48rB6Qrxom0sE2diuTFNA/w400-h301/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20heads%20into%20the%20courtroom%20with%20her%20lawyer%20Kingsley%20Willis%20to%20hear%20the%20verdict%20in%20her%20murder%20trial_I.png" width="400" /></a></span></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The police
discover that Thelma Jordon is not married to Tony Laredo and that Tony called
Thelma recently. She is now the prime suspect in the burglary and the murder,
not Tony. Miles Scott, the chief investigator for the district attorney’s
office, is leading an investigation because Thelma is the prime suspect. Cleve
must now protect himself personally and professionally, a seemingly impossible
task for an assistant district attorney who has crossed ethical and
professional lines and could very likely be charged as an accessory to murder
himself.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Thelma
Jordon is eventually found not guilty, and Cleve Marshall starts to believe his
troubles are over, but he is wrong once again. Tony Laredo is back in Thelma’s
life after hearing the not guilty verdict himself in the courtroom. He is with
Thelma when Cleve arrives to talk to her about their future together. Thelma
admits to killing her aunt and tells Cleve that Miles Scott was supposed to be
the patsy. Cleve was just a convenient stand-in. And now Cleve is the object of
blackmail: Tony Laredo knows who Mr. X is. </span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Thelma
leaves town with Laredo, but she forces Tony off the road while he is driving.
They crash into a fiery wreck and Tony dies, but Thelma survives long enough in
the hospital to tell Miles Scott everything, except the identity of Mr. X. She
tells Cleve that she always loved Mr. X, which saves her from revealing his
identity. She then dies on the hospital gurney. As I said, it’s all a bit late
for Cleve Marshall. His life is already ruined and he has to start all over
again.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYWEF2d8xZI7KEJhu_EI_lj-3LWvQsf10t7DMfkVSfoY4mGSwjtJsFnWTMT0uEAcC8wNOhnn1ViVzQOeal2nlTe6-WiwGq4EIJr6MMDkugf4VE6mFM_OFX4SI0lyBMcsVaU20fJ_KXeJ2LHVZhZjI1wmauR73Rh1y4LYAnjGQPNH0BtqtJ1MOt6iyYPg/s776/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20and%20Tony%20Laredo,%20after%20the%20trial%20and%20before%20their%20car%20accident.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="776" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYWEF2d8xZI7KEJhu_EI_lj-3LWvQsf10t7DMfkVSfoY4mGSwjtJsFnWTMT0uEAcC8wNOhnn1ViVzQOeal2nlTe6-WiwGq4EIJr6MMDkugf4VE6mFM_OFX4SI0lyBMcsVaU20fJ_KXeJ2LHVZhZjI1wmauR73Rh1y4LYAnjGQPNH0BtqtJ1MOt6iyYPg/w400-h300/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon%20and%20Tony%20Laredo,%20after%20the%20trial%20and%20before%20their%20car%20accident.png" width="400" /></a></span></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I was
dissatisfied with Thelma’s deathbed confession. I suppose that she was sincere
with Cleve and that she really did love him. But something about it rang hollow
for me. Maybe it was rushed in the context of the story. Maybe it is hard to
believe Barbara Stanwyck as a femme fatale turned romantic. The confession on
her deathbed may be too much of a romantic drama trope for this film noir or
maybe for any Barbara Stanwyck femme fatale. Maybe it’s all three. I have
already seen the film twice, and each time, I think Thelma would have been more
believable if she hadn’t made such an abrupt turnaround.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film
still has its noir ending, though. Believe it or not, the film doesn’t end with
Thelma’s deathbed scene. I haven’t given away everything!</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Barbara
Stanwyck, femme fatale, is back to some of her old tricks in <i>The File in Thelma
Jordon</i>, but the narrative doesn’t make it easy for viewers to guess that
right away. The first half hour or so is more like a romance than a film noir:
It depicts the start of an affair between Thelma Jordon, who is new in town
visiting her Aunt Vera, and Cleve Marshall, the town’s married assistant
district attorney. When I saw the film a second time, I realized that some
hints about the budding romance heading for disaster were there, even in the
first half hour. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">There’s the appearance of the mysterious Tony, which
viewers see and wonder about, but not Thelma Jordon—and not Cleve Marshall, who
doesn’t meet him for some time in the storyline. The man who follows Thelma and
Cleve Marshall on one of their clandestine dates and notes Cleve’s license plate
number is the detective from Miles Scott’s office. Although viewers don’t learn
that fact right away, it certainly adds some mystery and danger to the story.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyUwlgbpgTglgCpTcjoiuMX16I6k43tvfkmpz6-QHcmhYmCpKQL_dpJ36fLSbYpEEXmjF2Cng8ouScyERw6glXypnB1ORyABRzvvMziOcm3l7sk9QWbt8zwj_ickUTCkd1ajM6hQpoaMyegMfAP-5deQTz2KGvvasWiET-naHVjTKcdtFYKiGLeQB-Q/s776/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon's%20and%20Cleve%20Marshall's%20first%20night,%20first%20meeting,%20ends%20with%20a%20kiss%20and%20a%20plan%20for%20Thelma,%20not%20that%20Cleve%20knows%20anything%20about%20the%20plan.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="776" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyUwlgbpgTglgCpTcjoiuMX16I6k43tvfkmpz6-QHcmhYmCpKQL_dpJ36fLSbYpEEXmjF2Cng8ouScyERw6glXypnB1ORyABRzvvMziOcm3l7sk9QWbt8zwj_ickUTCkd1ajM6hQpoaMyegMfAP-5deQTz2KGvvasWiET-naHVjTKcdtFYKiGLeQB-Q/w400-h301/The%20File%20on%20Thelma%20Jordon_Thelma%20Jordon's%20and%20Cleve%20Marshall's%20first%20night,%20first%20meeting,%20ends%20with%20a%20kiss%20and%20a%20plan%20for%20Thelma,%20not%20that%20Cleve%20knows%20anything%20about%20the%20plan.png" width="400" /></a></span></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">And there is the title: Who is keeping a file on
Thelma Jordon? Why would they want to know anything about her? Miles Scott is
very likely the one keeping the file on Thelma; he doesn’t let anything get by
him in this film. The storyline never states the meaning of the title directly,
but he is the one who has been investigating the murder of Thelma’s aunt, the
one tailing Thelma and thus Cleve Marshall.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Unlike
Martha Ivers in <i>The Strange Love of Martha Ivers</i>, Thelma Jordon tries to
atone for her crimes and to reaffirm her love for Cleve Marshall at the end of
the film. As I said, I’m not sure Thelma’s deathbed scene is completely
believable, but <i>The File on Thelma Jordon</i> is still a good chance to see
Barbara Stanwyck in the femme fatale role, one that she plays so well. Thelma
may regret her crimes and she may really love Cleve Marshall, but she spends
most of the narrative lying and getting everyone, including herself, into very
serious trouble. And this is a role Barbara Stanwyck does so well.</span></b></p>
<p class="MsoNormal"><span face=""Verdana",sans-serif" style="font-size: 10pt;"></span></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">January 5, 1950, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Directed by Robert Siodmak<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Ketti Frings<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Based on a story by Marty Holland<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Music by Victor Young<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Edited by Warren Low<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by George Barnes</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Barbara
Stanwyck</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Thelma
Jordon<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Wendell
Corey</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Cleve
Marshall<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Paul Kelly</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Miles Scott<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Joan Tetzel</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Pamela Marshall<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Stanley Ridges</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Kingsley Willis<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Richard Rober</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Tony Laredo<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Gertrude W. Hoffman</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Aunt Vera Edwards<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Harry Antrim as Sidney<span style="mso-spacerun: yes;"> </span>• <span style="mso-spacerun: yes;"> </span>Barry Kelley as District Attorney Melvyn
Pierce<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Minor Watson as Judge Calvin H. Blackwell<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jane
Novak as Mrs. Blackwell<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Laura Elliot as Dolly<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kate
Lawson as Clara<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Theresa Harris as Ester<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Geraldine Wall as the prison matron<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Jonathan Corey as Timmy
Marshall<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Robin Corey as Joan Marshall<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Basil Ruysdael</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as Judge Jonathan David
Hancock<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Kenneth Tobey</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> as the police photographer</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Paramount
Pictures<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced by Wallis-Hazen</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-55653702782618115922023-05-12T18:15:00.001-04:002023-05-13T10:12:54.864-04:00The Strange Love of Martha Ivers (1946)<p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Barbara Stanwyck is
Martha Ivers, the femme fatale par excellence. Stanwyck may be remembered best
for her femme fatale role in <i>Double Indemnity</i>, but how many of these
types of ruthless characters get their start in childhood? Martha Ivers does,
and she makes the most of her dubious talents from that point onward.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFwllRP_Cvdad0Uu54IaotzglHoYiTQwTuUoZ5-u2VOc0o0pg6q947r2bdyjN0jCdwJSKPl103PVUNnCH7_PrtiuNUC278fdxciJx40CdalC67n37b5BK7uWdZHkHWgy38FtreBD-LDQkYUBD5hUJSyVb0PHMVgUlunbD1zJHtdSPyeouQ4p_YvKdhCg/s763/The%20Strange%20Love%20of%20Martha%20Ivers_Martha%20O'Neil%20makes%20a%20surpise%20visit%20to%20Sam%20Masterson's%20hotel%20room%20and%20insults%20Toni%20Marachek,%20standing%20in%20the%20background.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="763" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFwllRP_Cvdad0Uu54IaotzglHoYiTQwTuUoZ5-u2VOc0o0pg6q947r2bdyjN0jCdwJSKPl103PVUNnCH7_PrtiuNUC278fdxciJx40CdalC67n37b5BK7uWdZHkHWgy38FtreBD-LDQkYUBD5hUJSyVb0PHMVgUlunbD1zJHtdSPyeouQ4p_YvKdhCg/w400-h308/The%20Strange%20Love%20of%20Martha%20Ivers_Martha%20O'Neil%20makes%20a%20surpise%20visit%20to%20Sam%20Masterson's%20hotel%20room%20and%20insults%20Toni%20Marachek,%20standing%20in%20the%20background.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><a name="_Hlk119499061"><b style="mso-bidi-font-weight: normal;"><i><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">The
Strange Love of Martha Ivers</span></i></b></a><span style="mso-bookmark: _Hlk119499061;"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"> is available online for free. Click <a href="https://archive.org/details/TheStrangeLoveOfMarthaIvers" target="_blank">here</a> to
see it at the Internet Archive.</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
narrative starts in Iverstown, in 1928, when Martha Ivers is still a child and
living with her very wealthy and very unforgiving aunt. Martha has run away
from home once again, and Sam Masterson, a childhood friend, helps to feed her
and her cat, both stowaways on a boxcar in a railroad yard. He and Martha are
no match for Mrs. Ivers, the aunt. She has so many adults in town currying her
favor that she has no shortage of people willing to track down Martha and bring
her home, whether Martha wants to be home or not. And she definitely does not.
The moment she is back at her aunt’s house, Sam climbs back into the house through
a window, and Martha begs him to help her escape once again.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-hoZ-eFetfmbxqGu2Lo8b8luwO9V2SSEPuxZc8EgmFamgrdt8YEDT2Z6Xjke31b1pi7OmDUJ7shUv3LlHsBZpKXmfAcyeaibctVedRbZ3G7zcsEQy1aD8yA_oweKBjIdjwyLtzFNbXR3zW21LwAkOep8o1VZqZZP5_yIS3aPlS5Q7IC3EK-j5Si2ng/s797/The%20Strange%20Love%20of%20Martha%20Ivers_Martha%20Ivers,%20Sam%20Masterson,%20and%20Walter%20O'Neil%20as%20children,%20just%20before%20Martha%20kills%20her%20aunt.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="797" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-hoZ-eFetfmbxqGu2Lo8b8luwO9V2SSEPuxZc8EgmFamgrdt8YEDT2Z6Xjke31b1pi7OmDUJ7shUv3LlHsBZpKXmfAcyeaibctVedRbZ3G7zcsEQy1aD8yA_oweKBjIdjwyLtzFNbXR3zW21LwAkOep8o1VZqZZP5_yIS3aPlS5Q7IC3EK-j5Si2ng/w400-h294/The%20Strange%20Love%20of%20Martha%20Ivers_Martha%20Ivers,%20Sam%20Masterson,%20and%20Walter%20O'Neil%20as%20children,%20just%20before%20Martha%20kills%20her%20aunt.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Walter
O’Neil is also with Martha that night. His father brought him to the Ivers
house because </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Mr. O'Neil claims that Walter was
the one who had the information leading to the return of Martha to her aunt’s
home. Detective Londine is also at the Ivers house and wants Mrs. Ivers to know
that he was the one who “caught” Martha. In addition to currying her favor, no
one wants to be seen as standing in Mrs. Ivers’s way.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">On this same night, when the aunt is
particularly peeved with her niece, Mrs. Ivers finds Martha’s cat on the long
and wide front staircase of her home and kills it. Martha kills her aunt in
retaliation and then lies about what happened. Mr. O'Neil goes along with
Martha’s version of events about a man breaking in with the intention of
robbing the house and killing her aunt. He’ll keep quiet if Martha agrees to
marry Walter when they are older. When the film jumps to 1946, that’s exactly
what has happened. Martha and the other children are surrounded by adults who
really couldn’t care less about them, their welfare, or their feelings.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i style="mso-bidi-font-style: normal;">The Strange Love of Martha Ivers</i>
contains almost all the spoilers. The examples in the previous paragraph happen
early in the movie. It’s almost impossible to write about this film and <i>not</i>
give something away.)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sam Masterson, now an adult, is
driving through Iverstown and accidentally hits a pole. His DeSoto needs repairs
so he is forced to stop in Iverstown, although he doesn’t want to. He spots
Antonia (Toni) Marachek after dropping off his car at an auto body shop and
introduces himself. After a brief conversation, she decides to ride west with
Sam. Toni and Sam get adjoining hotel rooms in Iverstown to wait out the car
repairs. Toni has just been released from jail, and she tells Sam about it
after they are already registered at the hotel.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Martha O’Neil comes home, the same
home with the same staircase that her aunt once owned, to find her husband
Walter drunk and passed out. They talk about his need to keep up appearances if
he wants a political career. Martha is practical and in control, and Walter is
plagued by guilt. He knows that Martha killed her aunt because he was there to
witness it when it happened. In spite of what she did, Walter loves Martha, and
his love and desperation leave him powerless to do anything but continue with
the status quo, which includes getting drunk to forget his desperation.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY532ymn1shkFyd9UEMB4pV0Q_s1f0vuWsCJRWSVrSZ6ZXUmzeYzl_10UDH5uJ7M78xqRJf2w8-HpGsrkAKoSKneouQshXTrrNh2cgWfM-ws64za24GdlejxFUU0ErCFNQlzK_6LCqu3FuX7JLCfotDovsAHiBF1-V57GrCpridvRVOP2W8jBOWtzIaw/s761/The%20Strange%20Love%20of%20Martha%20Ivers_First%20appearance%20of%20Walter%20O'Neil_His%20wife%20Martha%20comes%20home%20to%20find%20him%20passed%20out%20drunk.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="761" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY532ymn1shkFyd9UEMB4pV0Q_s1f0vuWsCJRWSVrSZ6ZXUmzeYzl_10UDH5uJ7M78xqRJf2w8-HpGsrkAKoSKneouQshXTrrNh2cgWfM-ws64za24GdlejxFUU0ErCFNQlzK_6LCqu3FuX7JLCfotDovsAHiBF1-V57GrCpridvRVOP2W8jBOWtzIaw/w400-h308/The%20Strange%20Love%20of%20Martha%20Ivers_First%20appearance%20of%20Walter%20O'Neil_His%20wife%20Martha%20comes%20home%20to%20find%20him%20passed%20out%20drunk.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The next morning, Toni is arrested
for violating her probation. One condition of her release was that she return
to her hometown of Ridgeville, but she cashed in her bus ticket instead because
she would rather ride west with Sam. Sam goes to Walter O’Neil for help getting
Toni released from jail, and Walter agrees because he knows that Sam was also
at the Ivers home the night that Martha killed her aunt. Martha O’Neil shows up
at Walter’s office and is thrilled to see Sam, who is still there finishing his
deal with Walter. Martha is attracted to Sam and doesn’t seem to care if Walter
knows about it, but Sam doesn’t return her affections. She does her best to
persuade him otherwise, and maybe he does care about Martha because of some
fond childhood memories. She had always relied on him when they were children
to help her escape from her aunt. Walter, on the other hand, is not nearly as
pleased to see Sam again. He is obviously a complication for Walter.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Toni is brought to Walter O'Neil’s
office to make a deal. So many things in everyone’s lives are transactions made
and waiting to be fulfilled. Walter will order her release and wipe her record
clean if she informs on Sam Masterson. Sam is already known to police, but they
never seem to have enough evidence to detain him. Walter wants to be rid of
Sam, to keep him out of town and out of his marriage. Toni faces an almost
impossible choice, and her subsequent betrayal of Sam results in Sam being
taken away by men working for Walter. He is beaten and dumped twenty-five miles
outside Iverstown, with a warning not to return. He ignores this, of course: He
needs his car, for one thing, and being back in town gives him a chance to
square things with Toni. He includes Toni in his plans when he hears her side
of events because he doesn’t like to see anyone pushed around.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eOibYV6j1bvK4josNHdqZVRls-3OzvpMjbNWdgdWf43Kb-QdqsnVYVg0sTMBLOLI1El7sRwzKlSlNY3VVES3NamJL_kvRy28BzfOmHO3Xhta0kALFbJcxXLStjkKWwngPeEvNUDF8UwVXgSQTriEqU_cMYs15hwEz8i5f496k5qrI7saPzgUj3ANhA/s761/The%20Strange%20Love%20of%20Martha%20Ivers_Sam%20Masterson%20stands%20over%20Walter%20O'Neil%20after%20Walter%20tumbles%20down%20the%20stairs,%20and%20Martha%20O'Neil%20watches,%20hoping%20that%20Sam%20will%20kill%20Walter.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="761" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eOibYV6j1bvK4josNHdqZVRls-3OzvpMjbNWdgdWf43Kb-QdqsnVYVg0sTMBLOLI1El7sRwzKlSlNY3VVES3NamJL_kvRy28BzfOmHO3Xhta0kALFbJcxXLStjkKWwngPeEvNUDF8UwVXgSQTriEqU_cMYs15hwEz8i5f496k5qrI7saPzgUj3ANhA/w400-h308/The%20Strange%20Love%20of%20Martha%20Ivers_Sam%20Masterson%20stands%20over%20Walter%20O'Neil%20after%20Walter%20tumbles%20down%20the%20stairs,%20and%20Martha%20O'Neil%20watches,%20hoping%20that%20Sam%20will%20kill%20Walter.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">This begins a cycle of one-upmanship
played out between Martha, Walter, and Sam. Each one takes turns trying to get
the upper hand until the final confrontation at the O’Neil home, in which
Martha pushes Sam to kill Walter so that both of them can finally be together.
Sam Masterson is the character that is the hardest to figure out. He’s capable
of skirting the law and using violence to defend himself, but he champions the
underdog. Viewers get a glimpse of that when he declares to Toni that he
doesn’t want to see anyone pushed around, but at that point, it’s not clear
exactly what he means. It’s not until the end of the film, when Sam saves
Walter and puts his own life in danger, that viewers realize his true strength.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Perhaps another clue to Sam’s
character is his familiarity with the Bible. Sam’s and Toni’s stay in the
Iverstown hotel is a chance to introduce the Bible as reading material.
(There’s one in every hotel room, at least in 1946.) Sam seems to be well acquainted
with many of the stories in the Bible and alludes to some in the course of the
narrative. At the end of the film, he specifically refers to Lot’s wife turning
to a pillar of salt because she dared to look back at Sodom. After what has
happened in Iverstown, he uses it as a sort of warning to Toni that she should
never look back on the past. Sam’s childhood acquaintance with Martha has
certainly led to trouble for all the main characters in the film. But his
warning leads to a more positive outcome for him and Toni as they drive out of
town:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sam: “Don’t look back, baby
[Toni]. Don’t ever look back. You know what happened to Lot’s wife, don’tcha?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Toni: “Whose wife?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sam: “Sam’s wife.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Toni: [she leans her head
on Sam’s shoulder] “Sam’s wife.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Lizabeth Scott has a
reputation for playing femme fatale roles, but she plays against type in this
noir. Barbara Stanwyck is the one in the femme fatale role, and she is clearly
good at it. But it’s Kirk Douglas who is the real surprise. Walter O’Neil was
his first film role, and he plays the pushover husband so well that it’s easy
to forget all the other roles that Douglas is more famous for. Kirk Douglas may
be remembered for exuding strength and command, but his true forte may be
exuding anything at all on-screen in the first place. It may not matter what
the role demanded of him; he would have given it everything, every time.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSvq2TemoZKGc2T7zq6KUOsh0twQ_g9fTPFF1S5o8hzHbBnB4Gs1VTneh8ahNjFP34HlcbMWhLJO6ztLJaS9eHE-4MvIvQHZVVkmFaFbxZLnfeVJ7YwBpzY9l36nE39EWdh0YmlMPb7ipQbE4gUyAVF3ajt6AtIMaRrkJYpJH3trzYlZ8IFbR_JE0LA/s764/The%20Strange%20Love%20of%20Martha%20Ivers_Sam%20Masterson%20returns%20to%20town%20to%20confront%20Martha%20and%20Walter%20O'Neil.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="764" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSvq2TemoZKGc2T7zq6KUOsh0twQ_g9fTPFF1S5o8hzHbBnB4Gs1VTneh8ahNjFP34HlcbMWhLJO6ztLJaS9eHE-4MvIvQHZVVkmFaFbxZLnfeVJ7YwBpzY9l36nE39EWdh0YmlMPb7ipQbE4gUyAVF3ajt6AtIMaRrkJYpJH3trzYlZ8IFbR_JE0LA/w400-h305/The%20Strange%20Love%20of%20Martha%20Ivers_Sam%20Masterson%20returns%20to%20town%20to%20confront%20Martha%20and%20Walter%20O'Neil.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The title of this
film noir troubles me a bit, which may be the reason behind the writer’s block
that seemed to crop up every time I tried to write about <i>The Strange Love of
Martha Ivers</i>. Who (or what) is Martha’s strange love? Does she love Walter?
Does she really love Sam? Or does she simply use both men because of her love
for money and power? Martha Ivers is capable of evil, but I’m not sure that
love of money and power is all that strange, to be honest. It’s certainly a
feature in many films, not just noir.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Maybe the title
refers to Walter O’Neil. His devotion to Martha since they were children is
laudable, unless you recall that he was the one on the staircase who witnessed
Martha beating her aunt to death. He seems incapable of doing anything that
would destroy his love for Martha—until the end, that is, when the two of them
engage in an unplanned murder-suicide. I think <i>The Strange Love of Walter
O’Neil</i> would have worked much better as the title.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Either way, the film
rewards repeat viewings, with its complicated plot, underhanded dealings, and
multiple betrayals. Some of the plot and the characters’ motivations are told
only through dialogue, which can make details hard to follow at times. Like
many films noir, viewers must pay attention, or some of the details might slip
by.</span></b><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> The Strange Love of Martha Ivers</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> is worth the effort. It is a powerful film that is hard to forget.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">July 24,
1946 (New York City), September 13, 1946, release dates<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Directed by Lewis Milestone<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Robert Rossen and
Robert Riskin<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the short story “<span style="mso-bidi-font-style: italic;">Love Lies Bleeding” by</span> John
Patrick<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Miklós Rózsa<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Edited by Archie Marshek<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Victor Milner</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Barbara Stanwyck as Martha Ivers,
neé Ivers<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Van Heflin as Sam Masterson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Lizabeth Scott as Antonia (aka Toni) Marachek<span style="mso-spacerun: yes;"> </span>•Kirk Douglas as Walter O'Neil<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Roman Bohnen as Mr. O'Neil<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Judith Anderson as Mrs. Ivers<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Janis Wilson as the young Martha Ivers<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Darryl Hickman as the young Sam
Masterson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Janis
Wilson as Martha Ivers as a child<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Ann Doran as Bobbi St. John<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Frank Orth as the hotel clerk<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>James Flavin as the
detective<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mickey Kuhn as Walter O'Neil as a child<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Charles D. Brown as McCarthy<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Blake Edwards as the
sailor<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Robert Homans as Gallagher<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Gladden James as John</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt;"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by Paramount Pictures<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Produced by Hal Wallis
Productions</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-35252335268374104312023-04-29T17:33:00.001-04:002023-04-29T17:35:12.942-04:00The Bedroom Window (1987)<p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The first time that I saw <i>The
Bedroom Window</i>, I had a hard time believing Steve Guttenberg in the role of
Terry Lambert. Guttenberg has such boyish charm and such a wide grin, too wide and
too boyish, I thought, for noir. But the second time that I saw the film, I
realized that he was actually perfect for the part: the naïve guy who falls for
the seductive charms of an older married woman and would do anything to protect
her; someone who is comfortable in the role of the gallant knight in shining
armor; someone who is on his own when the married woman, Sylvia Wentworth,
turns into a femme fatale the minute Terry needs her and asks for her help.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvWOHQkPa-0gV0RSKfIyG0E0GenZM32cIEjzgKhn9A9NigpgQ_X2HWwZRTMnExcNp8LW2HHGiU0zkmiSk0rIfJL6Q3BKjzTu2nhuy6kJZpvJ8pO9Mrn7xsS46IuHy8Ra3mFKfIy6JqCU7mqe6-35R-BBEVGlfePScq8f7v8orwpVMxwvkPZbbr1_jBw/s1169/The%20Bedroom%20Window_Sylvia%20Wentworth%20and%20Terry%20Lambert%20in%20Lambert's%20car,%20after%20trying%20to%20identify%20one%20of%20the%20murder%20suspects%20in%20the%20police%20lineup.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="505" data-original-width="1169" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvWOHQkPa-0gV0RSKfIyG0E0GenZM32cIEjzgKhn9A9NigpgQ_X2HWwZRTMnExcNp8LW2HHGiU0zkmiSk0rIfJL6Q3BKjzTu2nhuy6kJZpvJ8pO9Mrn7xsS46IuHy8Ra3mFKfIy6JqCU7mqe6-35R-BBEVGlfePScq8f7v8orwpVMxwvkPZbbr1_jBw/w400-h173/The%20Bedroom%20Window_Sylvia%20Wentworth%20and%20Terry%20Lambert%20in%20Lambert's%20car,%20after%20trying%20to%20identify%20one%20of%20the%20murder%20suspects%20in%20the%20police%20lineup.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film is a fairly close
adaptation of the novel <i>The Witnesses</i>, by Anne Holden. The differences
between the film and the novel seem major when they are listed on paper (or on
screen, as it were), but the screenwriter did a good job updating the film and
transferring the setting to Baltimore, Maryland. I have already written about
Holden’s novel, and you can click <a href="https://makeminefilmnoir.blogspot.com/2023/04/the-witnesses-book-1971.html" target="_blank">here</a> to see my article about it, where I
discuss some of the differences.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Bedroom Window</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> opens with a close-up of the statue of George Washington atop the
Washington Monument in the Mount Vernon–Belvedere neighborhood in Baltimore,
where the film takes place. I noticed the statue’s sightless eyes, which is very unsettling and perhaps an obvious metaphor.
The camera pans down to a car arriving</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> on one of the neighborhood streets at night. The driver
backs into a space at the end of a one-way street, something that appears to be
a well-rehearsed habit. The driver, a man, gets out of the car and walks down
the street to an apartment building. Once inside the building and in his own apartment,
he gathers clothes and throws them into a closet. When he glances out his
bedroom window, he sees a woman, Sylvia Wentworth, arriving at the front door
of the building. At that precise moment, she is in the same spot in which a
woman, Denise Connelly will be attacked much later that night. But for now, she
is simply a married woman arriving to start a new affair with Terry Lambert.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sylvia gets
up in the middle of the night and witnesses the attack on the woman from
Terry’s window. She also gets a clear view of the assailant. By the time that Terry
arrives at the window, the assailant is gone, and both of them see the woman
being helped by other neighbors. Terry says something about the woman being all
right after all. She isn’t, though: She is bloody and battered and needs help
walking away after the attack. Terry walks Sylvia out to her car because she
wonders out loud at one point what would have happened if she had been the one outside
at the wrong time. After she gets into her car, Terry asks her, “Any regrets?” “Not
one,” she replies. “In spite of what happened. Maybe because of it. It’s the
most exciting night I can remember. You?” Terry states, “Regrets? Are you
kidding?”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDICnIxmxXi086dFGqMMYhykFSMAMKK-I-oZ98AjLhf03h8QoOWTtQmmQid4J04XjZj07nkEAxGW0vqFR7Do4epDIfbX-gRQWG5okLAwvqs7HxQM8LnsnIhrXOFX6QodbgAVEH2_86xVvUwgFNky8jkk1V9k27HezhCVOac4aN8bMZCMBjvJWLuWEmQ/s1177/The%20Bedroom%20Window_The%20attack%20outside%20Terry%20Lambert's%20window_Chris%20Henderson%20attacking%20Denise%20Connelly.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="1177" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDICnIxmxXi086dFGqMMYhykFSMAMKK-I-oZ98AjLhf03h8QoOWTtQmmQid4J04XjZj07nkEAxGW0vqFR7Do4epDIfbX-gRQWG5okLAwvqs7HxQM8LnsnIhrXOFX6QodbgAVEH2_86xVvUwgFNky8jkk1V9k27HezhCVOac4aN8bMZCMBjvJWLuWEmQ/w400-h171/The%20Bedroom%20Window_The%20attack%20outside%20Terry%20Lambert's%20window_Chris%20Henderson%20attacking%20Denise%20Connelly.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Both
Terry and Sylvia seem rather cavalier about the attack outside Terry’s window.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"> And so is Collin Wentworth, Terry’s boss and Sylvia’s husband. Terry
Lambert works at Wentworth Development Corporation (WDC), run by Collin. The
morning after the attack, Collin Wentworth calls Terry into his office, and Collin
is holding a gun that supposedly belonged to Bugsy Siegel. Collin makes a point
of mentioning that he recently purchased the gun, it is forty years old, and it
has never been registered. Is Terry to interpret Collin’s statements as threatening?
They make him nervous. Later in the narrative, Collin finds out about Terry’s
involvement in the police investigation of Denise Connelly’s assault because
detectives show up at the WDC offices to question him. Collin calls Terry
Lambert’s experience “interesting.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terry notices a newspaper article on
Collin’s desk about a coed who was killed a few blocks from Terry’s apartment
the same night of the attack that Sylvia witnessed. He squirrels away the
newspaper article without telling Collin why he wants to read it. When S</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">ylvia learns of this second and fatal attack,
she tells Terry that she would like to do the right thing and report what she
has seen, but then she would have to admit that she was in Terry Lambert’s
apartment. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terry decides to act as a witness
instead, to help Sylvia hide her role in the affair, and calls the police. Terry’s
decision sets in motion a sequence of events that quickly snowball. Police
detectives contact him to find out what he knows, and he eventually is cajoled
into being a witness for the trial of someone named Chris Henderson.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about <i>The Bedroom
Window</i> contains spoilers.)</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Before Terry becomes a witness in
the Henderson assault trial, he goes to the police station for what he thinks
is another interview by detectives. While waiting, h</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">e sits next to the victim of the attack, </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Denise Connelly, one of his neighbors. He doesn’t recognize her, even a
little bit. When the detectives come out to talk to him, they tell him that
they want him to try to identify the assailant in a lineup. He is alarmed about
this development in the investigation because he never saw the attack or the
assailant and barely got a good look at the victim, which she realizes when she
meets him in the waiting room at the police station.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terry
Lambert cannot identify Chris Henderson in the lineup, but he is alarmed enough
about the increasing police interest in him and the turn of events to start his
own investigation by tailing the man he thinks is the attacker after he sees
him leaving the police station. Terry eventually becomes </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">a suspect after his spectacular failure as a witness at Chris
Henderson’s trial for the assault on Denise Connelly. The detectives become
even more suspicious of him after they interview his neighbors about his
comings and goings on the night of the attack. Terry still won’t admit to the
affair with </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Sylvia
Wentworth and thus lies about why he left his apartment that night. He asks
Sylvia for help, only to discover that she has told her husband about the
affair and has no reason now to help Terry.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNl7nPurt_8dZej0qK7O-XvwERAvw0zAYqulFO_0JMTucEomO4mrL-xnUpjpYzX4-Fw48DtpHiZWLG9JbP8qBaYIMLCM-PniufOi5_Ed6g4WfazMelYPSwD_H36qfIhIw11bIpsK8MyGqraUrXu3T-c28sJN5nj4ybGxRUw6EL0VsCqM-VGA1nmfA9mw/s1176/The%20Bedroom%20Window_Denise%20Connolly%20playing%20the%20role%20of%20bait%20in%20her%20apartment%20building,%20with%20the%20murderer%20Chris%20Henderson%20stalking%20her.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1176" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNl7nPurt_8dZej0qK7O-XvwERAvw0zAYqulFO_0JMTucEomO4mrL-xnUpjpYzX4-Fw48DtpHiZWLG9JbP8qBaYIMLCM-PniufOi5_Ed6g4WfazMelYPSwD_H36qfIhIw11bIpsK8MyGqraUrXu3T-c28sJN5nj4ybGxRUw6EL0VsCqM-VGA1nmfA9mw/w400-h170/The%20Bedroom%20Window_Denise%20Connolly%20playing%20the%20role%20of%20bait%20in%20her%20apartment%20building,%20with%20the%20murderer%20Chris%20Henderson%20stalking%20her.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">With no
one to help him, Terry turns to Denise Connelly, the victim of Chris
Henderson’s assault and attempted murder. He is a little mystified about her
reasons for trusting him, and he asks her about this directly. She tells Terry
that she trusted him when they first met at the police station waiting to see
the lineup.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terry: “Tell me something. Even when you knew I was
lying, you didn’t suspect me like the police. Why?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Denise: “I knew something the police didn’t. Remember
the first time we met? The lineup?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terry: “How could I forget?”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Denise: “I knew something was wrong even then. It was
obvious you’d never seen me before from your bedroom window or anyplace else.
And you were completely indifferent to what you did see. Not flattering,
perhaps, but upon reflection, trustworthy . . .”</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitD3S3T2ukC7xvlbOcOIyWGWJM5M04a2CoEQoipbRWJKIyBQhptx7E_HGfwStGam4eJx68O7Harv5yhZZsCYFxMYuO50FIkNLpagkYd6t0K9Sr_eGgcwqs8k6WtK6_B1Y7GSdJgw986zs-upJn9-KLDflnVGwYsMDw1lZt9OwqukL-16fZr0PAuYdHPA/s1173/The%20Bedroom%20Window_Denise%20Connolly%20and%20Terry%20Lambert%20talk%20in%20her%20very%20small,%20very%20crowded%20apartment.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="1173" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitD3S3T2ukC7xvlbOcOIyWGWJM5M04a2CoEQoipbRWJKIyBQhptx7E_HGfwStGam4eJx68O7Harv5yhZZsCYFxMYuO50FIkNLpagkYd6t0K9Sr_eGgcwqs8k6WtK6_B1Y7GSdJgw986zs-upJn9-KLDflnVGwYsMDw1lZt9OwqukL-16fZr0PAuYdHPA/w400-h171/The%20Bedroom%20Window_Denise%20Connolly%20and%20Terry%20Lambert%20talk%20in%20her%20very%20small,%20very%20crowded%20apartment.png" width="400" /></a></b></div><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Denise
trusts Terry enough to join him in an investigation of their own. I have to
admit that this part of the story seems a little far-fetched, but Terry’s and
Denise’s joint investigation increases the tension and makes for several
nail-biting sequences that were never part of the novel. I found it hard to sit
still, even on second viewing when I knew what was going to happen! Their joint
investigation works on the suspense level.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Steven Guttenberg is a surprise in
the role of Terry Lambert. I wasn’t convinced at first, as I said, but a second
viewing changed my mind on that point. Part of the reason that it works,
however, is because of Isabelle Huppert’s performance as Sylvia Wentworth. She
can go from beguiling to treacherous when it suits the needs of the role, and
she makes it easy to see why Terry Lambert would fall for her in the first
place. Huppert is a force to be reckoned with whenever she is on-screen, and <i>The
Bedroom Window</i> is a perfect showcase for her abilities to take command and
then let go without any trace of guilt or remorse: a femme fatale par
excellence.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCc8Q9NcjivfftSaBvVvdytaAO-3epvmrKYvh-sP9IlKlNYygbpQQpc2-0HueW5ItZM1JIZPmhESAyiwiUbOsc5Y5r6oqWLuZaTGZvTjHrSeDY7xWl565Cn_vyxJMv-hAk_Kb08MD6Q84T_APDyi-QYE0x0KlcKcTHdYoF0A5lFMguzKmMv_N8Peo-Q/s1170/The%20Bedroom%20Window_Terry%20Lambert%20says%20goodbye%20to%20Sylvia%20Wentworth%20after%20they%20have%20had%20sex%20and%20she%20has%20witnessed%20a%20man's%20attack%20on%20a%20woman%20outside%20Lambert's%20bedroom%20window.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="1170" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCc8Q9NcjivfftSaBvVvdytaAO-3epvmrKYvh-sP9IlKlNYygbpQQpc2-0HueW5ItZM1JIZPmhESAyiwiUbOsc5Y5r6oqWLuZaTGZvTjHrSeDY7xWl565Cn_vyxJMv-hAk_Kb08MD6Q84T_APDyi-QYE0x0KlcKcTHdYoF0A5lFMguzKmMv_N8Peo-Q/w400-h170/The%20Bedroom%20Window_Terry%20Lambert%20says%20goodbye%20to%20Sylvia%20Wentworth%20after%20they%20have%20had%20sex%20and%20she%20has%20witnessed%20a%20man's%20attack%20on%20a%20woman%20outside%20Lambert's%20bedroom%20window.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">When Terry Lambert asked Sylvia if
she had any regrets about their affair, he really should have paid attention when
she told him, “Not one.”</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">January
16, 1987, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed by Curtis Hanson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay
by Curtis Hanson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based on the novel <i>The Witnesses</i> by
Anne Holden<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Michael Shrieve, Patrick Gleeson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Scott Conrad<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Gilbert Taylor</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Steve Guttenberg as Terry Lambert<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Elizabeth
McGovern as Denise Connelly<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Isabelle Huppert as Sylvia Wentworth<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Paul
Shenar as Collin Wentworth<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Carl Lumbly as Detective Quirke<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Frederick
Coffin as Detective Jessup<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Brad Greenquist as Chris Henderson<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Wallace
Shawn as Henderson’s defense attorney<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Robert Schenkkan as State
Attorney Peters<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Francis V. Guinan Jr. as Peter, the bartender
at Edgar’s<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>J. Michael Hunter as the pool player at
Edgar’s<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Sara Carlson as the dancer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Mark
Margolis as the man in the phone booth<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Jodi Long as the cocktail
waitress<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Richard K. Olsen as the late-night shopper<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Leon
Rippy as the bartender<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kate McGregor-Stewart as Terry’s neighbor<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Maury
Chaykin as the pool player</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by StudioCanal, Lionsgate Films<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced
by De Laurentiis Entertainment Group</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-82717919653348253472023-04-16T18:39:00.003-04:002023-04-17T09:36:33.855-04:00The Witnesses (Book) (1971)<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxJLgWZoyf-6Yh4s4pUb2a9BURL0Ikqn7cfB1UwEUdKD74bFvKHPfEHqJIPPVMxnpXBCMkOiTr398W2qWb9Ah3CSyWgvlc4yx3nA3jQzCyvVH3vh6SFb8N6z2gkQvgs2qkZ64_VEgVTUWnge6WJzwkIyysgHpH4K-OwLVyCsNpgwN8pr0_W16v4yJ_-w/s398/The%20Witnesses_by%20Anne%20Holden.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="398" data-original-width="263" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxJLgWZoyf-6Yh4s4pUb2a9BURL0Ikqn7cfB1UwEUdKD74bFvKHPfEHqJIPPVMxnpXBCMkOiTr398W2qWb9Ah3CSyWgvlc4yx3nA3jQzCyvVH3vh6SFb8N6z2gkQvgs2qkZ64_VEgVTUWnge6WJzwkIyysgHpH4K-OwLVyCsNpgwN8pr0_W16v4yJ_-w/w264-h400/The%20Witnesses_by%20Anne%20Holden.png" width="264" /></a></div><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
Witnesses</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">
is a quick, engrossing read. It probably would have been a page-turner for me
if I hadn’t seen the film based on it first: <i>The Bedroom Window</i> (1987). At
200 pages and a small trim size, it could almost be called a novella. I’ve
heard that the difference between a novel and a novella is that the latter can
be read in one or two sittings, and no more. It took me more than two sittings
to read <i>The Witnesses</i>, but certainly not for lack of interest.<br /></span></b><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
novel starts with Sylvia Manson, a married woman having an affair with a
younger man named Terence Lambert. She awakens in his apartment during the
night and decides to leave without waking him. She’s in no rush; she goes to
his bedroom window and looks out at the neighborhood. She spots a woman walking
down the street, and then a man almost running after her. He attacks her from
behind, and Sylvia calls out to Terence because she cannot get his bedroom window
open. The attacker is chased off when the woman screams and neighbors come out
to the street to assist her. Before Terence can get to the window, Sylvia gets
a good look at the attacker; Terence sees nothing.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Later,
when Sylvia and Terence learn about other attacks on women in the neighborhood,
Sylvia becomes concerned. She knows that she got a good look at the attacker,
and she believes that no one else did because he always rushes up from behind.
She would like to tell the police what she saw, but that would mean having to
explain what she was doing in Terence Lambert’s apartment in the middle of the
night, and such a threat to her marriage is not a risk that she is willing to
take. Without telling Sylvia first, Terence decides to go to the police himself
with the information about the attacker that Sylvia told him.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">(This
article about the novel <i style="mso-bidi-font-style: normal;">The Witnesses</i>
contains spoilers about the novel and the film based on it: <i>The Bedroom
Window</i> [1987].)</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Sylvia’s
and Terence’s decisions lead them into complications that neither one of them
foresee. They are living in their own private world, having closed themselves
off because Sylvia is not interested in revealing their affair or ending her
relationship with Terence. They started with one big lie about the affair, and
then they start telling more lies to keep it hidden. At first, their intentions
about the attacker are noble: They don’t want to see more young women attacked
and possibly killed. But they cannot continue crafting their own small world on
such shaky foundations, and the ensuing police investigation is really a
parallel plot line that eventually converges on their lives and forces
everything to crumble around them.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
author switches points of view: Sometimes readers see the unfolding events from
Terence’s perspective and sometimes from Sylvia’s. Inspector Quirke and
Sergeant Jessup, the police responsible for the investigation of what becomes a
serial murder case, are most often described from Terence Lambert’s point of
view, but every once in a great while, the police detectives are given their
own brief perspective on the crime and the evidence. Toward the end of the
novel, </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Inspector Quirke and Sergeant Jessup are well aware of
Sylvia and that she and Terence are at least acquainted. They are not quite
sure of the connection between the two just yet. The following is an excerpt
from their conversation about the case.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">[Sergeant
Jessup speaking here first.] “Lambert gave a detailed description of the
alleged attacker, and it was later proved in court that he couldn’t have seen
him at all clearly at the time.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“Right.
But the anonymous note gave basically the same description.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“No
evidence who wrote that, sir. Could have been Lambert himself.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“The
handwriting chaps think it’s unlikely Lambert wrote the address on the
envelope.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“He could
have got someone to do it for him,” said the sergeant.</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“Who
could he have asked?”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“The girl
friend.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“The
Manson woman, you mean?”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“It could
have been, sir. She’s mixed up in it somehow, I swear.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
inspector looked doubtful. “Not just the friend of a key witness?” he asked.</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“I
suppose it’s possible, sir, but somehow I don’t think so. There is something
that doesn’t add up there.” (page 193)</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">By this point, Terence Lambert has become a credible
suspect, and in noir fashion, it’s all his own fault. It started with going to
the police to give a description that Sylvia saw, not him. But Terence takes it
a step further by following the original suspect, Chris Henderson, thereby
putting himself in locations where attacks and murders have occurred, sometimes
with witnesses who can describe him and pinpoint his whereabouts. This turn in
events puts a strain on Terence’s and Sylvia’s relationship because she refuses
to give him an alibi to help prove his innocence. She will not do anything that
threatens her marriage, even though she started harming her marriage when she
agreed to start seeing Terence.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In the last paragraphs of the novel, Terence tries
desperately to get help from Sylvia, to get her to provide him with an alibi to
help clear all suspicion that he could be the murderer, but she refuses. She is
willing to accuse him of physical assault because he grabs her hard enough to
hurt her, but in so doing, she does the very thing she feared the most: She
exposes her affair with Terence and her involvement as a witness for the attack
on the woman in Terence’s neighborhood.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Her
[Sylvia’s] eyes blazed at him. “You’re hurting me—let me go.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“Sylvia, you must help me. Can’t you see? You must
speak up.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“Never,” she said. “How can you be so selfish?”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“Selfish? It’s you who’s selfish—a monster of
selfishness.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“There’s a train coming!” she cried, beginning to
struggle. “Let me go.”</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>He felt her straining to get away from him, he
tightened his grip, moved his hands closer together, sliding them up along her
shoulders toward her neck, and he saw fear come into her eyes and felt a surge
of power. His breath was coming in great hissing gulps.</span></b></p>
<p class="MsoNormal" style="margin-bottom: 0in; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 0in 0.5in; text-indent: 0.5in;"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">“Help,”
she screamed. “Help!” and he squeezed her throat so as not to hear her voice.
Dimly he heard feet running, a whistle, hands wrenching him roughly back, so
that he fell. Through a thickening mist he heard her say, “This man, he
attacked me, he jumped at me from behind.” (pages 199–200)</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Sylvia
doesn’t realize that the police by now will have questions for her. She doesn’t
realize that they are already aware of her connection to Terence and that she
cannot claim he is a stranger to her.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
film adaptation <i>The Bedroom Window</i> doesn’t end on such a cynical—albeit
realistic—note. The film’s ending is a Hollywood version of making everything
right about a bleak story. I still enjoyed it, however, maybe as much as the
novel. Even though the film follows the novel pretty closely, there are some
glaring differences, which really make it easy to like both independently and
for different reasons. Here is a list of just a few of the differences between
the film and the novel:</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The film takes place in
Baltimore, Maryland. The novel takes place in London, England, but this fact
isn’t confirmed until page 129. I knew the author hailed from New Zealand, and
I was pretty sure that the story took place in former British colony, if not
England itself. But I found it a bit annoying that the setting wasn’t made
clear earlier in the novel.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terence wants to help
Sylvia in the film; he comes up with the idea of going to the police. Neither
one of them ever send any anonymous tips or letters to the police. In the
novel, it is Sylvia’s idea that Terence should contact the police about what
she has witnessed, although he finally decides on his own to go to the police
after protesting to her about the idea. Sylvia sends what the police call a
“crank letter” using letters that she cut out of newspapers and sends the
message via the post.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In the film, Sylvia is
worried that the assailant will strike again, but she soon forgets about this
worry and has no intention of helping Terence in anyway. She doesn’t come
across as someone who spends more than a little bit of time worrying about
anything unless it could disrupt her already established life. Sylvia suffers
some pangs of guilt off and on throughout the novel—until the prospect of
losing her family becomes very real to her near the end.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terence Lambert works at Wentworth Development
Corporation (WDC) in the film. His boss is Collin Wentworth, Sylvia’s husband.
This adds some real tension to the story, but not nearly as much as the tension
that is developed in the novel. In the novel, </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terence
is an accountant, like Sylvia’s husband Edgar Manson, but he doesn’t work for
Manson. Their paths never cross.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terence has never seen the
suspect, Chris Henderson, before he goes to the police station for the police
lineup in the film. Henderson works at the docks in Baltimore Harbor. In the
novel, Terence has seen the suspect (also named Chris Henderson) before.
Henderson works at the garage where Terence took his car to be fixed before he
sold it.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Terence actually meets the
female victim of the attack that Sylvia witnessed from his bedroom window in
the film. They develop a relationship, and she helps Terence clear his name,
which is definitely not part of the novel. In the novel, neither Terence nor
Sylvia ever meets Chris Henderson or any of his victims. The screenplay for the
film adaptation is really very clever at updating the story in the novel and
moving it from London to Baltimore.<span style="mso-spacerun: yes;"> </span></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">When I started reading the novel, I was curious about
the title, specifically the use of the plural (<i>The Witnesses</i>). Sylvia is
the obvious witness, and Terence tries to take on that role, but he is
unsuccessful. He soon learns that it is difficult to be a credible witness,
especially when dealing with police detectives who have a lot of practice
talking to people who claim to have information about crimes. By the end of the
novel, however, the choice of the plural is much more obvious.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Others in the neighborhood heard
a female voice, not a male voice, as Terence claims, coming from his bedroom
window on the night of the attack in his street.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">There are many more
witnesses than Terry Lambert and Sylvia Manson ever imagined to their comings
and goings, when they are apart and when they are together.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Julie Manson, Sylvia’s
daughter, may have tailed her mother after her friend Barbara talked about
seeing Sylvia out with another man. She might be a witness to her mother’s
infidelity.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ T</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">he police detectives have
tailed Sylvia and are themselves witnesses: They know that she and Terry
Lambert are at least acquainted.</span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊ </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Witnesses unknown to
Terence and Sylvia have come forward to the police to say that they have seen
someone who looks like Terry Lambert in the same locations where several of the
attacks and murders have taken place.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The novel ends with Sylvia accusing Terence of assaulting
her, but readers don’t really know what happens past that point, not from the
author anyway. Given the tone of the writing and the way Sylvia and Terence
have convinced themselves they are living in their own private world, it wasn’t
hard for me to imagine that their world is about to come crumbling down. I like
the way the story just stops because it left it up to me to imagine what was coming
for the two main characters.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The Witnesses</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">, by Anne Holden<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>New
York: Harper & Row, Publishers, 1971</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt;"></span></b></p>
<p class="MsoNormal"><b><u><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">List of main characters</span></u><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">: Sylvia Manson<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Terence Lambert<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Edgar Manson, Sylvia’s husband<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Julia and Marion Manson, their
daughters<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Inspector Quirke, police detective<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Sergeant Jessup, police detective<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Chris Henderson, principal
murder suspect</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The
image of the front cover is from the first edition, as noted above. The page
references in this article refer to this first edition.</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com0tag:blogger.com,1999:blog-9001384737868808902.post-50641483998094577532023-04-01T16:47:00.002-04:002023-08-31T08:50:06.896-04:00Black Hand (1950): Yes, That Is Gene Kelly, Singer and Dancer Extraordinaire, in a B Film<p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Gene
Kelly does a great job as the lead, Johnny Columbo, in a story that requires a
little bit of his singing and none of his dancing (but it does include some of his
signature physicality, which I will describe in more detail later in this
article). I love finding films noir and B films that feature stars who are not
ordinarily known for their dramatic acting skills. It was a treat to see Gene
Kelly in a film noir that showcases his acting talents alone.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuU_zZx0pUBwaygm76_wcc8pqQhgz0A6uQ8l-vpA6WjKI7Z6NX9DWijC96Kp85uUMwKkksNz_3VvpZral9vGw87Hq8wi7rk0GYx22Tw0jFmdNTgqqYk_qrPFYAwNudcN9Lvo_8InyOFgR65kjx5XJmOfQsSRWNUIIWtkGro8XnvCMeWzk8JtQw2MhmYw/s781/Black%20Hand_Close-up%20of%20Johnny%20Columbo%20when%20he%20is%20Pietro%20Riago's%20prisoner%20in%20the%20butcher%20shop.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="781" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuU_zZx0pUBwaygm76_wcc8pqQhgz0A6uQ8l-vpA6WjKI7Z6NX9DWijC96Kp85uUMwKkksNz_3VvpZral9vGw87Hq8wi7rk0GYx22Tw0jFmdNTgqqYk_qrPFYAwNudcN9Lvo_8InyOFgR65kjx5XJmOfQsSRWNUIIWtkGro8XnvCMeWzk8JtQw2MhmYw/w400-h300/Black%20Hand_Close-up%20of%20Johnny%20Columbo%20when%20he%20is%20Pietro%20Riago's%20prisoner%20in%20the%20butcher%20shop.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The fictional story in <i>Black Hand</i> is based on
elements of fact. After the opening credits, the following type, part of a
disclaimer of sorts, appears: “At the turn of the [twentieth] century, there
were more Italians living in New York than in Rome . . .</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"> This story deals
with the hard, angry days when these new citizens began to place their stake in
the American dream—when they purged the Old World terror of the Black Hand from
their ranks and gave bright dignity to their people and to this nation.”</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Black Hand criminal activity was a problem
in Italy and in U.S. cities that had large Italian immigrant populations at the
turn of the last century. The character of </span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant Louis Lorelli
is based on an actual New York City police detective, </span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">Joseph
Petrosino. Click on each item in the list below for more information at
Wikipedia:</span></b><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ <a href="https://en.wikipedia.org/wiki/Black_Hand_(extortion)" target="_blank">Black Hand</a></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">◊ <a href="https://en.wikipedia.org/wiki/Joseph_Petrosino" target="_blank">Joseph Petrosino</a></span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">The
narrative starts in the tenement slums of New York City in 1900. Fruit and
produce vendors and a granito and gelato vendor sell their wares on the street.
The camera follows one vendor as he crosses the street, and then it pans up the
front of a tenement apartment building, ceiling by ceiling, showing people
living in cramped one-room apartments. It ends in the apartment of the Columbo
family, whose living conditions are not as crowded as the others because
Roberto Columbo is a lawyer.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Roberto
leaves the apartment against the wishes of his wife. She warns him that he will
be killed for speaking out against the Black Hand, a criminal organization
active at the turn of the last century. And just as his wife warned, Roberto is
murdered by Black Hand members. He told what he knew to a police officer, but
the officer is an informant for the Black Hand. Police corruption means that
there is no protection for the people who go to the police. Roberto’s son,
Johnny Columbo, agrees to return to Italy with his now-grieving and widowed
mother, but he vows to return to New York City.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW714lAmHvM6Z9eu_ZwfgQQmmsoETgqO88kqCDkwng8VoBPCBraPVO8ft5AbYktJT8bgdZzXHtJbhFJqFHy82cQ5Wb6zmGvI1feq7reJPVcqwC9BV2ZGPQf9sUwDmHohGIQ1uU4ToZsvlwwaoF6v4pWF5trnyX0EcEH3iD8qYgG_cSA3MYLu6vfgyamw/s784/Black%20Hand_Johnny%20Columbo%20returns%20to%20New%20York%20City%20as%20an%20adult.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="784" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW714lAmHvM6Z9eu_ZwfgQQmmsoETgqO88kqCDkwng8VoBPCBraPVO8ft5AbYktJT8bgdZzXHtJbhFJqFHy82cQ5Wb6zmGvI1feq7reJPVcqwC9BV2ZGPQf9sUwDmHohGIQ1uU4ToZsvlwwaoF6v4pWF5trnyX0EcEH3iD8qYgG_cSA3MYLu6vfgyamw/w400-h300/Black%20Hand_Johnny%20Columbo%20returns%20to%20New%20York%20City%20as%20an%20adult.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny
Columbo does return to New York as an adult with vengeance on his mind. He finds
</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Isabella
Gomboli, someone he knows from his past, and admits that he wants to avenge his
father’s death. Isabella would rather that Johnny form a citizen’s league
instead of pursuing a vendetta and using violence, but </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny remains
unconvinced. He goes to someone named </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Moriani to get some information about his father’s
death, but Moriani is killed soon after their first meeting and before he can
tell Johnny anything. When Johnny goes to Moriani’s apartment to keep their
appointment, Lieutenant Louis Lorelli is sitting with Moriani’s body. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny Columbo and </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Isabella Gomboli finally decide to
form a citizen’s league, and Lieutenant Louis Lorelli helps by recruiting
league members. Lorelli is optimistic about Johnny and Isabella’s work.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8J9YkkIHzBz18xkoQNymcC-fGS5KQQlW4icV4z9owb0rlIv6uOcq8KRSSaVau16fM5nnLFa1Qi4g_0SWcnvYT_YkQg43DEdnOFvD_E1KBAgZ4pk1JLhgfdBtb6kD4WmU3Rm1Rs3ZEr2fHY-WAZAfIfkaVCWL1WBF_WiyrQXHGIfgHgZvx2AtZXZSrw/s781/Black%20Hand_Johnny%20Columbo%20talks%20to%20Isabella%20Gomboli%20about%20his%20vendetta,%20and%20she%20is%20not%20happy%20about%20it..png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="781" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8J9YkkIHzBz18xkoQNymcC-fGS5KQQlW4icV4z9owb0rlIv6uOcq8KRSSaVau16fM5nnLFa1Qi4g_0SWcnvYT_YkQg43DEdnOFvD_E1KBAgZ4pk1JLhgfdBtb6kD4WmU3Rm1Rs3ZEr2fHY-WAZAfIfkaVCWL1WBF_WiyrQXHGIfgHgZvx2AtZXZSrw/w400-h297/Black%20Hand_Johnny%20Columbo%20talks%20to%20Isabella%20Gomboli%20about%20his%20vendetta,%20and%20she%20is%20not%20happy%20about%20it..png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The league
meeting is about to start, and everyone is there except </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny Columbo. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant Lorelli decides to start
the meeting anyway. One of the men sitting behind Lorelli on the makeshift
stage is the corrupt police officer who was present when Johnny’s father, was
killed, which means that the league is already infiltrated by Black Hand
members before its first meeting begins. Soon after Lorelli starts speaking to
the attendees, </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny
Columbo is “delivered” outside the door to the meeting: He falls against the
door and through the doorway, unconscious and bleeding, and his leg is
obviously broken. I wondered if this particular injury was a nod to Gene
Kelly’s dancing, a broken leg being one of the worst ways to retaliate against
someone who made their living dancing in films.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">People
are more frightened than ever and will no longer go to league meetings. Things are
quiet for a while, until someone leaves a bomb at a dry goods store. This time,
no one is killed, but the police finally find a piece of usable evidence. A
piece of paper with handwriting on it was inside the bomb and survived the
blast. Johnny Columbo is now studying for the law, but he wants to go after the
bombers. The evidence is enough to lead Columbo and Lorelli to </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">George Allani, who is arrested and
put on trial. But when the store owner, Carlo Saballera, is on the witness
stand, someone in the court threatens him with a hand gesture, and the
intimidation works. The store owner will not testify. Lieutenant Lorelli gives
a speech in the courtroom about why Italian immigrants are so easy to
intimidate: They don’t have enough education about city and local laws to know
that they can be protected, that they can trust some of the police officers.
But Lorelli’s effort come to nothing: Carlo Sabballera will no longer testify.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4FJEpLmNWZP4ykkMZkqRAGb_pIXjW9OkkJCx60fl6GpSHvGehX0gPRs74eW1A9anunDIQ6ZRiNfswBPavH3UZep2pfZA1N-vwlq6Z4SJsZ75s4D3Z4f2MWi68H4l3OwWZihPr9VmHE6ywApbqfG5DiIzUUbG7_GMyc6h3cgd7roPvbhcMXv6nBMEJug/s779/Black%20Hand_Lieutenant%20Louis%20Lorelli%20and%20Johnny%20Columbo%20celebrate%20George%20Allani's%20deportation_III_and%20realize%20that%20Lorelli%20can%20return%20to%20Italy%20to%20research%20other%20offenders%20for%20deportation.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="779" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4FJEpLmNWZP4ykkMZkqRAGb_pIXjW9OkkJCx60fl6GpSHvGehX0gPRs74eW1A9anunDIQ6ZRiNfswBPavH3UZep2pfZA1N-vwlq6Z4SJsZ75s4D3Z4f2MWi68H4l3OwWZihPr9VmHE6ywApbqfG5DiIzUUbG7_GMyc6h3cgd7roPvbhcMXv6nBMEJug/w400-h300/Black%20Hand_Lieutenant%20Louis%20Lorelli%20and%20Johnny%20Columbo%20celebrate%20George%20Allani's%20deportation_III_and%20realize%20that%20Lorelli%20can%20return%20to%20Italy%20to%20research%20other%20offenders%20for%20deportation.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Before
George Allani is released for lack of evidence, however, the judge receives
information about his real identity, which is George Tomasino. He is wanted for
murder in Italy, which means that he is in the United States illegally. No
citizen from another country one with a criminal record is allowed into the
United States. He is now handed over to the federal authorities for deportation,
although the trial against him for the bombing is dismissed for lack of
evidence.</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant
Lorelli and </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Johnny
Columbo celebrate the victory, but they want to deport more of the people in
the country illegally. Lorrelli decides to return to Naples, Italy, to conduct
research on known Black Hand members in New York City that immigrated from
Italy, and he finds real names and photos. Lorelli is eventually ambushed and
killed in Italy, but he survives long enough to mail the envelope containing
all his research to Johnny Columbo in New York City. </span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Black Hand members kidnap Isabella’s
brother Rudi and use him to blackmail Johnny into giving them the envelope and
all of Lorelli’s research. Johnny learns that a wine merchant, Pietro Riago, is
holding Rudi. He follows him, intent on bringing Rudi home without having to
pay the ransom, without having to give up Lorelli’s research.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi68ENdkQFvKcEQj_q6xeYFhMJNPW8SYqyJtzyVLgLpT6Id4Pg5QxVvjRzH7P_gGCfXhAmGeJT03HOxcfln0RGZcVyDmA2_RXH0oXcuQ6J0eRpEdJ7ULxgcwDi5ai4eESN9Uo9hh7jY77emKuBez4GaFEPSLB0B-q2TR_Qpc0CKQpc5JR7fswI41CDNJg/s781/Black%20Hand_Johnny%20Columbo%20follows%20Pietro%20Riago%20after%20Riago%20closes%20up%20his%20shop%20for%20the%20night_III.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="781" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi68ENdkQFvKcEQj_q6xeYFhMJNPW8SYqyJtzyVLgLpT6Id4Pg5QxVvjRzH7P_gGCfXhAmGeJT03HOxcfln0RGZcVyDmA2_RXH0oXcuQ6J0eRpEdJ7ULxgcwDi5ai4eESN9Uo9hh7jY77emKuBez4GaFEPSLB0B-q2TR_Qpc0CKQpc5JR7fswI41CDNJg/w400-h301/Black%20Hand_Johnny%20Columbo%20follows%20Pietro%20Riago%20after%20Riago%20closes%20up%20his%20shop%20for%20the%20night_III.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b><i><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Black
Hand</span></i></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">
uses Kelly’s physicality to good effect in the sequence where his character,
Johnny Columbo, follows Pietro Riago, the wine merchant who is blackmailing the
Italian residents of the neighborhood. If you are a fan of Gene Kelly’s
musicals and his dance numbers, as I am, you will likely recognize him, even on
the dark narrow streets of the tenement slums in a B film. In this particular
sequence, with Columbo following Riago, there is very little sound on the soundtrack.
Columbo loses Riago on the dark streets, and his sense of urgency and
desperation is evident in the way Gene Kelly continues searching: the way that
he stops in front of each building on the dark street, the way that he holds
his arms still and rigid, the way that his feet tap two or three times in front
of each doorway. Viewers can almost hear Kelly’s signature tap dancing on the
pavement in this dark neighborhood.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSs5mkEC3uEhZLgwMNSqBM0Sn8sYOboBRAbNUd6pTFkBByVk9A_VRHT8VdbeNLNwrec8hh0BP8QiorkmwEA-kSpry2yuQfj84lx_P0J-hMeJvnW5E4Phfcz0fX5WjFM2pYjY8aFGjLBE95OVoTYZ0izG6kKKRW93xFY5IsLtXgeD_bKkS4LWE1ZfyivA/s781/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_I.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="781" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSs5mkEC3uEhZLgwMNSqBM0Sn8sYOboBRAbNUd6pTFkBByVk9A_VRHT8VdbeNLNwrec8hh0BP8QiorkmwEA-kSpry2yuQfj84lx_P0J-hMeJvnW5E4Phfcz0fX5WjFM2pYjY8aFGjLBE95OVoTYZ0izG6kKKRW93xFY5IsLtXgeD_bKkS4LWE1ZfyivA/w400-h301/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_I.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">When
the film cuts to the front of the last building and Kelly approaches the
camera, he stops, his arms still rigid, his hands closed in fists. Viewers can
feel his anger, despair, and unwillingness to give up.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgroLYNjsq1Mj3iYknCTOKv84Qlcga_CPZ9Ft69zPqy5zPvJ4ZMmRlxPAeKHxuZK5oFTGnzm2UsmrGI3ZbL_XQQnxY0JHFHNSeEHDxtOYcuDIoCZhiSiv2gHVz1FUQnFm8tN75Km0n2_y7munwPc0GZCb3RE2UpDe37_FN-3BVzXAXY0TOqmPk3zRUAkA/s783/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_III_The%20tension%20in%20his%20arms%20and%20fists%20portray%20his%20frustration.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="783" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgroLYNjsq1Mj3iYknCTOKv84Qlcga_CPZ9Ft69zPqy5zPvJ4ZMmRlxPAeKHxuZK5oFTGnzm2UsmrGI3ZbL_XQQnxY0JHFHNSeEHDxtOYcuDIoCZhiSiv2gHVz1FUQnFm8tN75Km0n2_y7munwPc0GZCb3RE2UpDe37_FN-3BVzXAXY0TOqmPk3zRUAkA/w400-h301/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_III_The%20tension%20in%20his%20arms%20and%20fists%20portray%20his%20frustration.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">When
he turns around and spots the light in one of the apartments, Kelly looks up and
approaches the building with more hope than he had in the last moment. The
outline of his body is clear in the light, even though Kelly himself is in
shadow. The lighting throughout emphasizes Kelly and his movements.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xcKkk762yN0pQlMTlMY37wLgeQ3eMAP9reWO8DB_8361m06d9_dEKOYSF7mJDX9falReCuOU-k4n_2EaVlQWi3wwjYkW09x_PRvO9z5ETRVH2nmGWj3ptHJyYW_kfoqGwLawrKzxK5j5uqtTR5l5Zrj686xOkyW0QIyrkc6Lo-fUhpidk9MfiFVBdg/s782/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_IV_He%20spots%20the%20lighted%20window%20and%20knows%20%20that%20Pietro%20Riago%20is%20home.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="782" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xcKkk762yN0pQlMTlMY37wLgeQ3eMAP9reWO8DB_8361m06d9_dEKOYSF7mJDX9falReCuOU-k4n_2EaVlQWi3wwjYkW09x_PRvO9z5ETRVH2nmGWj3ptHJyYW_kfoqGwLawrKzxK5j5uqtTR5l5Zrj686xOkyW0QIyrkc6Lo-fUhpidk9MfiFVBdg/w400-h300/Black%20Hand_Gene%20Kelly%20uses%20his%20physicality%20to%20portray%20his%20search%20for%20Pietro%20Riago_IV_He%20spots%20the%20lighted%20window%20and%20knows%20%20that%20Pietro%20Riago%20is%20home.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">Although
Gene Kelly’s character, Johnny Columbo, fights the Black Hand with a partner in
</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Lieutenant
Louis Lorelli, Kelly is the star. He even has a short singing part. When Johnny
first arrives in New York City, he meets several of his countrymen in a bar
where Moriani works, and all of them break out into an Italian song. Viewers
can hear Gene Kelly’s voice over the others. He doesn’t dominate the others,
but this is Gene Kelly after all. His voice is clear and strong. Fans do want
to hear him sing, just as we want to see him succeed in his fight against evil
and corruption.</span></b><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt;">This article about <i>Black Hand</i><i style="mso-bidi-font-style: normal;"> </i>is my entry for the Favorite Stars in B Movies Blogathon, hosted
by Brian at filmsfrombeyond.com. Click <a href="https://www.filmsfrombeyond.com/2023/01/announcing-favorite-stars-in-b-movies.html" target="_blank">here</a> for a day-by-day list of links to </span></b><!--[if gte mso 9]><xml>
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April 2.</span></b></p>
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<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">March 17, 1950, release date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Directed
by Richard Thorpe<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Screenplay by Luther Davis<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Based
on a story by Leo Townsend<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Music by Alberto Colombo<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Cotton Warburton<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Paul Vogel</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
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as Giovanni E. (aka Johnny) Columbo<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>J. Carrol Naish as Lieutenant
Louis Lorelli<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Teresa Celli as Isabella Gomboli<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Marc
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Minutti as Bettini<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Carlo Tricoli as Pietro Riago<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Marc
Krah as Lombardi<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jimmy Lagano as Rudi Gomboli<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Phyllis
Morris as Mary the Shamrock</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Distributed by
Metro-Goldwyn-Mayer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Produced by Metro-Goldwyn-Mayer</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com14tag:blogger.com,1999:blog-9001384737868808902.post-24377947850835061412023-03-24T08:51:00.003-04:002023-03-24T13:12:48.295-04:00Moonlighting: “The Dream Sequence Always Rings Twice” Episode (October 15, 1985)<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">If you remember the
television series <i>Moonlighting</i>, you may be wondering why a blog about
noir would include an article about it. The series was very popular and it was
called many things: romance, drama, comedy—but never noir. Even someone like me,
who isn’t particularly fond of categories, couldn’t find much that was noir
about the series, but there is one episode, “The Dream Sequence Always Rings
Twice,” that pays loving homage to film noir. It’s a real treat, and the chance
to write about it for the Ninth Annual Favorite Television Episode Blogathon gives
me the perfect excuse to put it in the limelight of the blogosphere.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbsPqKDla_B6qgMHl6L0K2WGvSvaTAyy5ug8Phhfg-cMVnjXnTeVrb83rEq7v3h0Vtw2wHCzWwTZsnMypK2lA_pLaR-4b4Iv1MLgNVH9m4PbLRinyk1XsJk3iuXmE7wrfFp-7cyTnxPRzflzRgYVRVIPsBvd4DYFWQkLRnahvdd6uDrJyF2oUD9FWcmA/s780/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20to%20Zack%20McCoy_I%20don't%20want%20you%20rehearsing%20with%20my%20husband%20and%20me.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="780" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbsPqKDla_B6qgMHl6L0K2WGvSvaTAyy5ug8Phhfg-cMVnjXnTeVrb83rEq7v3h0Vtw2wHCzWwTZsnMypK2lA_pLaR-4b4Iv1MLgNVH9m4PbLRinyk1XsJk3iuXmE7wrfFp-7cyTnxPRzflzRgYVRVIPsBvd4DYFWQkLRnahvdd6uDrJyF2oUD9FWcmA/w400-h301/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20to%20Zack%20McCoy_I%20don't%20want%20you%20rehearsing%20with%20my%20husband%20and%20me.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">For film noir fans, the
title of the episode is an obvious play on <i>The Postman Always Rings Twice</i>,
the title of the novel by James M. Cain, published in 1934, and the 1946 film
adaptation starring Lana Turner and James Garfield. For the episode itself, the
title refers to different dreams dreamed by the two lead characters, Maddie
Hayes, played by Cybill Shepherd, and David Addison, played by Bruce Willis.
Both dreams are about the same murder from the past, but each one arrives at a
different conclusion about the integrity of the people involved in that crime.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;">That’s not the only
noir touch, of course. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Orson Welles,
the famous filmmaker who produced many films noir, introduces the episode, and
he begins his introduction with “Tonight, broadcasting takes a giant leap
backward.” He goes on to reassure viewers that nothing is wrong with their
television sets; the episode really does switch to black and white about ten
minutes in. He also says, “Gather the kids, the dog, grandma, and lock them in
another room.” It’s all tongue in cheek because the series overall, of course, is
mostly devoted to other genres besides noir.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMcc6IcLxmpFVOLe7CbuDoW9ETGqsSwtMDt61Sa3oOkUf0qpETOQsDzCjm9yUt3xwel_jF-Xln-pDw1CfkfR1B5EYsCc-3IBYzlZET73hv1kndeZkniny1cELyYiZUTRvYqWpzmlSKw6J4CxvKYyS5-itu7JShvt6q_TPhC3i9ps3tiK-uW2VvowWw/s781/The%20Dream%20Sequence%20Always%20Rings%20Twice_Orson%20Welles%20smokes%20a%20cigar%20before%20starting%20his%20introduction_Tonight,%20broadcasting%20takes%20a%20giant%20leap%20backward.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="781" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6jMcc6IcLxmpFVOLe7CbuDoW9ETGqsSwtMDt61Sa3oOkUf0qpETOQsDzCjm9yUt3xwel_jF-Xln-pDw1CfkfR1B5EYsCc-3IBYzlZET73hv1kndeZkniny1cELyYiZUTRvYqWpzmlSKw6J4CxvKYyS5-itu7JShvt6q_TPhC3i9ps3tiK-uW2VvowWw/w400-h301/The%20Dream%20Sequence%20Always%20Rings%20Twice_Orson%20Welles%20smokes%20a%20cigar%20before%20starting%20his%20introduction_Tonight,%20broadcasting%20takes%20a%20giant%20leap%20backward.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In this
episode, the opening credits appear over the usual opening still shots, then
continue over shots of the present-day Flamingo Cove, which is abandoned and in
disrepair. The soundtrack includes whispers of an opening night from the 1940s,
when the nightclub was in its heyday. The present day (1985, when the episode
aired) intrudes more directly when Maddie Hayes and David Addison, detectives
and partners in the Blue Moon detective agency, enter the old rundown Flamingo
Cove nightclub to find the current owner and the prospective buyer, Mr.
Bigelow, inside. Mr. Bigelow hired the detectives to find out what they could
about his cheating wife.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Before
they find their client, Maddie and David have one of their classic arguments,
this one about taking on more divorce cases. Maddie finds the work depressing,
but David is more pragmatic:</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">David: “What are you
talking about? Infidelity is as American as apple pie. Without infidelity,
there’d be no Ann Landers. There’d be no <i>Divorce Court</i>. There’d be no <i>Dynasty</i>.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Maddie: “That’s not my
problem. I don’t like it. The deception, the dishonesty, the lack of trust.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">•
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">David: “Let me tell you something.
Like it or not, our business is built on a lack of trust. Two people are
involved. Maybe they share a business. Maybe they share a bed. One doesn’t
completely trust the other. What does he do? He calls us, Maddie. <i>He</i>
calls <i>us</i>. Why? Because the world <i>is</i> bad. The world <i>is</i> full
of deception. It <i>is</i> full of dishonesty. And I, for one, wouldn’t have it
any other way. And I’ll tell you something else. I don’t know about you, I
don’t know about you, but I, for one, I, for one, hit my knees every night and
thank the man upstairs that there is a little bit of dishonesty left in this
otherwise sunny world. You just think about that. That’s all I have to say. Mr.
Bigelow! Mr. Bigelow!” [David continues into the Flamingo Cove nightclub
followed by Maddie.]</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">David’s
opinions are surprisingly dark, both for the series and for the character. But
they are true to the noir theme of the episode. The case involving the
prospective owner, Mr. Bigelow, takes an amusing turn, however, when he is
disappointed that David and Maddie have no evidence about his wife’s infidelity
or that they won’t doctor any of the photos so that he can use them to file for
divorce. Mr. Bigelow wants to buy the Flamingo Cove, but he calls off the deal
and walks away in a huff because he won’t share the profits with his wife.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">David and
Maddie are left with the lawyers and the present owner of the nightclub, who
talks of its storied past, including its infamous unsolved murder. He explains
that a singer and a trumpet player in the nightclub’s band started an affair
and one of them killed the singer’s husband. Each of them maintained that the
other did it, and so the case was never truly solved.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrWGaJ-zEjSPsu-otuHA7Qg8gL1ExzaSFF4OWL24CRP-HMoZvf6h7YSgPA2eCbbzVjlmHQlXYVtejx3NuqbyeRHaYZZgsYVrIs_wwrLyQEKbJEyH8qVrx0kMsHex8YjPF6Vis6qeS9HrRDOjUSXz6vfAwxxP_6yiiv1yvHAGI9mKdlKkJ1OZ-BJWHig/s778/The%20Dream%20Sequence%20Always%20Rings%20Twice_The%20set%20of%20the%20Flamingo%20Cove%20nightclub_Rita%20Adams%20is%20singing%20for%20the%20audience.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="778" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrWGaJ-zEjSPsu-otuHA7Qg8gL1ExzaSFF4OWL24CRP-HMoZvf6h7YSgPA2eCbbzVjlmHQlXYVtejx3NuqbyeRHaYZZgsYVrIs_wwrLyQEKbJEyH8qVrx0kMsHex8YjPF6Vis6qeS9HrRDOjUSXz6vfAwxxP_6yiiv1yvHAGI9mKdlKkJ1OZ-BJWHig/w400-h301/The%20Dream%20Sequence%20Always%20Rings%20Twice_The%20set%20of%20the%20Flamingo%20Cove%20nightclub_Rita%20Adams%20is%20singing%20for%20the%20audience.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">On the
way back to the Blue Moon Investigations offices, Maddie and David argue (again—their
arguments are classic and a trademark of the series) about who committed the
murder: the wife/singer or the trumpet player. Maddie believes the trumpet
player did it; David believes it could be either one. He maintains that Maddie
is a sexist because she assumes that the trumpet player committed the murder
simply because he is a man. (Given the statistics and what is known today about
the crime of murder, David’s accusation doesn’t really hold up all that well.) The
argument continues at the detective agency’s offices. Maddie is so angry at
David that she leaves work and goes home.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">(This article about the television
episode “The Dream Sequence Always Rings Twice” from the series <i style="mso-bidi-font-style: normal;">Moonlighting </i>contains all the spoilers.)</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">At home,
Maddie falls asleep on the living room couch and dreams of the Flamingo Cove
murder. Maddie is the nightclub singer, Rita Adams; the modern-day owner of the
Flamingo Cove, whom she met earlier in the day and who told her and David the
story of the unsolved murder, is her husband Jerry Adams, a clarinet player;
and David Addison is the trumpet player. When David Addison makes his first
appearance as the trumpet player, he shows up at the nightclub on his first day
as a new hire. He is cocky and sure of himself: He introduces himself as
“Chance Cash Johnny Brick Lonesome Shane McCoy, but you can all me Zack.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Rita
Adams sings “Blue Moon” in her dream sequence. Killing her husband is Zack
McCoy’s idea, and he uses Jerry’s clarinet to bludgeon him to death. Rita Adams
is interrogated by Lieutenant Matthews, and he learns from her that Jerry had a
$20,000 insurance policy. That bit of information changes the focus of his
investigation from an accident to murder. With that switch in focus, the
investigation becomes more urgent. Rita is arrested for the murder of her
husband because Zack McCoy eventually turns on her and accuses her of the crime
that he really committed.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzxTmY2DFyJZD1UJS2qeDuE6GXbxrNINtDGX9upD01BTxJ-j8KpSnz7-sLyNExDMcV9u2CfFyhpIJ5B2Wfx69m8WpsqGMSgs23pWJxtCf8Rxw4Z0Pocx3wzdP_aS06UP-MhqoPhXiHDdDfNy3lERis1k-EpZheGLX6PNFFyvVI9io5HAD1CUyrrpSPQ/s783/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20sings%20for%20an%20audience%20at%20the%20Flamingo%20Cove%20nightclub.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="783" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzxTmY2DFyJZD1UJS2qeDuE6GXbxrNINtDGX9upD01BTxJ-j8KpSnz7-sLyNExDMcV9u2CfFyhpIJ5B2Wfx69m8WpsqGMSgs23pWJxtCf8Rxw4Z0Pocx3wzdP_aS06UP-MhqoPhXiHDdDfNy3lERis1k-EpZheGLX6PNFFyvVI9io5HAD1CUyrrpSPQ/w400-h300/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20sings%20for%20an%20audience%20at%20the%20Flamingo%20Cove%20nightclub.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The
episode goes back to full color for the sequence between the dreams. Maddie
wakes up from her dream and calls David at home. It is now nighttime, and she
wakes him up to tell him that the trumpet player murdered the singer’s husband,
then hangs up on him. David goes back to sleep and dreams his own version of
events.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">In David’s
black-and-white dream sequence, Rita Adams is again the nightclub singer, but
this time she sings “I Told Ya I Love Ya, Now Get Out.” Zack McCoy plays the
trumpet, but he is so sure of himself this time that he also plays the
saxophone, clarinet, and drums. Killing Jerry Adams, the husband, is Rita’s
idea: She suggests it, and she gets Zack to do the actual killing with Jerry’s
clarinet. Zack doesn’t want to kill Jerry, but he changes his mind when Rita
shows up one day at Flamingo Cove with a black eye. Zack finally invites
himself to practice with Jerry and Rita, and Rita pushes him into killing
Jerry. Zack is the one arrested, and he eventually goes to the electric chair.
Rita is there at the execution to pull the lever.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpFnVmVCOVWuAR1LAvSsz9B9akG0Z_3ChLnwrOGTLbK_njnPw8U9ulYLGjfgOPI03WaV9zlnP89AIJqHKMEGLqkxUvY33WoOn7C08bPUJapsLwwkfoUC72iZ3dc_1q2MO14Kx3txVZTNW8rk_JrVppJB1FPqzcz0BcKmrucGcBZeC3SaOKZRrFsNrxw/s781/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20sings%20I%20Told%20You%20I%20Loved%20Ya%20Now%20Get%20Out%20at%20the%20Flamingo%20Cove.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="781" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpFnVmVCOVWuAR1LAvSsz9B9akG0Z_3ChLnwrOGTLbK_njnPw8U9ulYLGjfgOPI03WaV9zlnP89AIJqHKMEGLqkxUvY33WoOn7C08bPUJapsLwwkfoUC72iZ3dc_1q2MO14Kx3txVZTNW8rk_JrVppJB1FPqzcz0BcKmrucGcBZeC3SaOKZRrFsNrxw/w400-h301/The%20Dream%20Sequence%20Always%20Rings%20Twice_Rita%20Adams%20sings%20I%20Told%20You%20I%20Loved%20Ya%20Now%20Get%20Out%20at%20the%20Flamingo%20Cove.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The DVD commentary for “The Dream Sequence Always
Rings Twice” is provided by director Peter Werner, cowriter Debra Frank, and series
creator Glenn Gordon Caron, and it is full of fun and interesting background
information for the episode. It is definitely worth a listen, whether you are a
fan of film noir or a fan of the television series.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Glenn Gordon Caron talks
about asking Orson Welles to introduce the episode because there was a lot of
concern, especially from the network executives, that people would never watch
a show in black and white or that they would think something was wrong with
their television sets. Caron felt filming in black and white was necessary
because the episode was an homage to 1940s film noir. He also notes that Welles
died on October 10, 1985, one week after filming for “The Dream Sequence Always
Rings Twice.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The dream sequences were
filmed with old-stock, black-and-white film because they didn’t look the same with
color film. The entire series, including “The Dream Sequence Always Rings
Twice” episode, was filmed in the old tradition: with great depth of field, and
the use of shadows and lighting.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Maddie’s dream sequence was
inspired by the Metro-Goldwyn-Mayer (MGM) style of noir: slick and glossy, with
female-centered characters. <i>Mildred Pierce</i> was one inspiration [although
I should point out that <i>Mildred Pierce</i> was produced and distributed by Warner
Bros., not MGM]. David’s dream sequence was inspired by the Warner Bros. style
of noir: gritty and dark.</span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7VOd3GFue1hvBgYLjPGp_YPDOX5e2SnMgeJh3-7_KFyetRSQjGP9gJhPHQF2tzhkAMoRQHRi3vgfpeSYU1VeAWtd7AMKkWiXzuRy_43uL_KpWyZPN2mpkdl1AgHsh5L5UThNJFio9V3e7Pnj0J-01V-Cg81GtrZepSgt5pGEOcN1VNK9NPr-bo-85Tw/s749/The%20Dream%20Sequence%20Always%20Rings%20Twice_Zack%20McCoy%20plays%20his%20trumpet%20in%20his%20window,%20in%20front%20of%20a%20flashing%20neon%20light.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="749" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7VOd3GFue1hvBgYLjPGp_YPDOX5e2SnMgeJh3-7_KFyetRSQjGP9gJhPHQF2tzhkAMoRQHRi3vgfpeSYU1VeAWtd7AMKkWiXzuRy_43uL_KpWyZPN2mpkdl1AgHsh5L5UThNJFio9V3e7Pnj0J-01V-Cg81GtrZepSgt5pGEOcN1VNK9NPr-bo-85Tw/w400-h314/The%20Dream%20Sequence%20Always%20Rings%20Twice_Zack%20McCoy%20plays%20his%20trumpet%20in%20his%20window,%20in%20front%20of%20a%20flashing%20neon%20light.png" width="400" /></a></b></div><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The voice-over narration by
Bruce Willis in David Addison’s dream sequence is another difference between
the two dream sequences. Voice-over narration was a staple of many 1940s films
noir.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">The song “Blue Moon” was
chosen because of the name of the detective agency in the series: Blue Moon
Investigations. The song “I Told Ya I Love Ya, Now Get Out” was chosen by
Cybill Shepherd, who sings the songs herself. The musical numbers were recorded
first and filmed on a large soundstage at Twentieth Century Fox that was leased
by the producer of the show.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Click
<a href="https://www.youtube.com/watch?v=0x4N1qLYOgQ" target="_blank">here</a> to see some footage of Cybill Shepherd singing in both dream sequences at
YouTube. The video also shows the funny clip of Zack McCoy taking over the
nightclub band’s performance and playing several instruments.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">◊
</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">Debra Frank and Carl
Sautter, the writers of the episode, had the general idea for the story first,
and they adjusted it depending on who they were pitching the story to. They
tailored the story to fit the <i>Moonlighting</i> premise. The series could
accommodate very different types of story lines, and “The Dream Sequence Always
Rings Twice” was just one example. Another is the episode called “Atomic
Shakespeare.”</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">I
binge-watched the entire series, all five seasons, every single episode, one
right after the other, and I was sorry when I came to the last DVD and there
weren’t any more episodes left to watch. I never watched <i>Moonlighting</i>
when it was a hit in the late 1980s, but I’m guessing that I wouldn’t have
appreciated all its humor and its cleverness at the time. Thank goodness for
DVDs!</span></b></p>
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Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Book Antiqua",serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: EN-US; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">This article about the <i>Moonlighting</i> episode “The Dream Sequence
Always Rings Twice” is my entry for the Ninth Annual Favorite TV Show Episode
Blogathon hosted by Terry at A Shroud of Thoughts. Click <a href="https://mercurie.blogspot.com/2023/03/the-9th-annual-favourite-tv-show.html" target="_blank">here</a> for the complete
list of blogathon participants and links to their blogs. The list is updated
each day of the blogathon, from March 24 to March 26, 2023.</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 10pt;"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";">October
15, 1985, broadcast date<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Season 2, Episode 4; Episode 11 of the series
overall<span style="mso-spacerun: yes;"> </span>• <span style="mso-spacerun: yes;"> </span>Directed by Peter Werner<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;">
</span>Written by Debra Frank, Carl Sautter<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Music by Alf Clausen<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Edited
by Neil Mandelberg<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Cinematography by Gerald Perry Finnerman<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Opening
theme song “Moonlighting” by Al Jarreau, Lee Holdridge<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Series
created by Glenn Gordon Caron</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt;">Cybill Shepherd as
Maddie Hayes<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bruce Willis as David Addison Jr.<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Allyce
Beasley as Agnes Dipesto<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jack Bannon as the club owner and Jerry Adams<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Phil
Rubenstein as Mr. Bigelow and Sloan<span style="mso-spacerun: yes;"> </span>• <span style="mso-spacerun: yes;"> </span>Raleigh Bond as Potter<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Francis
X. McCarthy as Lieutenant Matthews<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Freeman King as the bartender<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Bill
Handy as the jailer<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Nick DeMauro as the priest<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Orson
Welles as himself, introducing the episode<span style="mso-spacerun: yes;">
</span>•<span style="mso-spacerun: yes;"> </span>Jamie Taylor as Jamie Lamont,
Blue Moon employee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Jonathan Ames as Jergenson, Blue Moon
employee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Kristine Kauffman as Kris, Blue Moon
employee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Dan Fitzpatrick as O’Neill, Blue Moon
employee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Willie Brown as Simmons, Blue Moon
employee<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Inez Edwards as Inez, Blue Moon employee</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman";"></span></b></p>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Book Antiqua",serif; font-size: 8pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Produced by Picturemaker Productions, ABC Circle Films<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Distributed
by ABC Distribution Company<span style="mso-spacerun: yes;"> </span>•<span style="mso-spacerun: yes;"> </span>Broadcast by ABC</span></b> <br /><p></p>Mariannehttp://www.blogger.com/profile/01918881203476436369noreply@blogger.com21