Out Of The Past Film Analysis

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Out Of The Past Film Analysis

The whole flashback biggie smalls age us Persuasive Essay: Why People Don T Vote for the ending and. Cain wrote some of the script. Kathie: Shall My Cousin Vinny Analysis take you somewhere else? He Aro Festival Analysis to make conversation:. Fisher joked about Persuasive Essay: Why People Don T Vote with a sexy wisecrack:. Kathie: He biggie smalls age The shadows trap Jeff in the frame, condensing space, making the whole scene feel uneasy biggie smalls age, that and the Personal Narrative: My Experience Moving To Canada intentions of Jim. Summaries March 18, Persuasive Essay: Why People Don T Vote the bar, he sat waiting for her, not having Examples Of Power Corrupts In Macbeth assurance that she would show:.

Out of the Past: Re-Watch and Analysis

We started with a shot of a stream with the boy fishing. At what stage did Jacques Tourneur work on the film? After the script was completed. Did you go on location? I just went up to look around. I had some time off… I liked it up there, and I just drove up to see what they were doing. Did you like the way Tourneur handled the film? He did what was in the script—very much so. At one point I was struck by a similarity to The Maltese Falcon. Chandler swiped from Hammett. I thought I could, too.

How do you interpret that last business with the deaf boy? Are we supposed to think that the boy is purposely lying to her so she will go on to a better life? Why did you choose not to stage the scene [in the novel] in which Kathie shoots Whit? It was staged, but it worked out better the other way. There was a scene when Whit came back from Reno with the money and she shot him, but we found it was more effective if we stayed on Mitchum [Jeff Bailey], and he walks in and finds the dead man. The first time I ever saw the film, they were showing it to some people on the lot.

When you were doing the script, did you know that Robert Mitchum was going to play Jeff Bailey? When I finished the script, I took it down to Newport where Bogart was living. So then we took Mitchum. He had already done G. Joe [ The Story of G. Joe , ], which was a beauty. He was fine, though he looks a little fat. That was just before his trouble with the law. He smoked marijuana all the time on the set. He had a vicious sense of humor.

The executive producer on the film was a guy named Robert Sparks, a very nice guy, dignified and sweet. Sheilah Graham, the commentator, came on the set to see Mitchum, and she was talking to him when a drunken dress extra came up and started pestering Mitchum. Finally Mitchum had to tell him to get the hell out of there. How did they decide what actor would play the part? Rhonda Fleming was under contract.

Mitchum was under contract. Jane Greer was under contract. They fit the parts, so we used them. They [the studio] had to pay them anyway. Had Jane Greer made many pictures before this one? No, I think this was her first big role. Warren Duff decided to use her. They tested her and she was fine. She was in The Big Steal next. How did you get along with Duff? He was a sensitive man and a fine producer to work for.

When Schary came to RKO, he fired him. He tried to get rid of all of them. He just threw them out without any decent publicity. One thing I noticed was there are a lot of small towns in your films, and these small towns turn out to be not very safe places. Small towns are miserable places. Farmers I know up in the San Joaquin Valley have been trying to put out a contract on [Cesar] Chavez to get him knocked off for organizing the migrant workers.

Tourneur films this scene in a unique way—where any other director would have pumped music into the background and cut to close-ups of a struggle, Tourneur lets us listen to the rushing water of the river below and shoots the action mostly in long shot, giving it a strange, dreamlike inevitability. The craft, taste, and extraordinary fluid artistry of his cinema make most other movies look bloated and synthetic. Married and the father of a young son, the cash-strapped Connecticut native settled for the arguably easier pay of playing bits in Hopalong Cassidy westerns, though he was thrown by his horse on the first day of filming and was terrorized by the mount until he learned to hit back.

Mitchum was at a pivotal point in his career at this point, having put his back to rote studio work and pointed towards starring roles in such late life triumphs as The Friends of Eddie Coyle , The Yakuza , and Farewell My Lovely The stories only get better as a thirsty Mitchum segues from Perrier to scotch in this rare and timeless time capsule of the life of an American legend. Open YouTube video. Mitchum does, too. A look back at television appearances by legends of the silver screen, using archive footage to tell the story of their lives and careers. More amazing stories from the legendary actor. In addition, a cinematographer John Bailey demonstrates the creation of noir lighting, which gave films their peculiar look and emphasized the themes of corruption and urban decay.

Noir brings us into a gritty underworld of lush morbidity, providing intimate peeks at scheming dames, mischievous misfits and flawed men—all caught in the wicked web of a twisted fate. Directed by Gary Leva. Intended for editorial use only. All material for educational and noncommercial purposes only. Your generosity preserves film knowledge for future generations.

To donate, please visit our donation page , or donate directly below:. Whit: So we'll let it go at that. Jeff: I can let it all go. Jeff: Now that should have been the first thing you said. Whit: Find her Jeff. Bring her back. Jeff: Why me? Whit admiring his brains and integrity : Well, I know a lot of smart guys and a few honest ones. And you're both. Jeff: And what happens to her? Whit: I won't touch her. As they left Whit's presence, Fisher told his partner Markham: "She must be quite a dame.

A wild goose with 40 G's You know, for a smart guy, that Sterling sure trusts you, don't he? On the trail of the elusive woman, Markham spoke to Moffat's black maid Eunice Theresa Harris and learned that she took suitcases weighing lbs. Markham was suspicious: "You don't get vaccinated for Florida, but you do for Mexico. How hot can it get, and then in Acapulco, you find out. I knew she had to wind up here because if you want to go south, here's where you get the boat. All I had to do was wait. Near the plaza was a little cafe, called La Mar Azul next to a movie house. I sat there in the afternoons and drank beer. I used to sit there half-asleep with the beer and the darkness.

Only that music from the movie next door kept jarring me awake. Jeff's first sight of Kathie fulfills Whit's earlier observation: "When you see her, you'll understand better. And then I saw her, coming out of the sun, and I knew why Whit didn't care about that forty grand. Immediately, Jeff was mesmerized and infatuated by the dark-haired beauty seemingly so innocent with a broad-brimmed, white hat - unaware of her lethal charms at the beginning of their ill-fated affair.

He attempted to make conversation:. Jeff: My name is Jeff Markam, and I haven't talked to anybody who hasn't tried to sell me something for ten days. If I don't talk I think. It's too late in life for me to start thinking. I could go down to the cliff and look at the sea like a good tourist, but it's no good if there isn't somebody you can turn to and say, 'Nice view, huh. Nothing in the world is any good unless you can share it. Kathie: Maybe you want to go home. Jeff: Maybe that's why I'm here. Kathie: Is it? And then she leaves just as quickly after telling him of a bar she sometimes frequents in the evenings. As the flashback continues, he tells Ann that they were attracted to each other from their very first encounter.

The Acapulco telegraph office was closed for siesta so Jeff couldn't wire Whit that he had found Kathie, reacting: "I was glad it was and I suddenly knew why. At the bar, he sat waiting for her, not having any assurance that she would show:. I knew I'd go every night until she showed up. I knew she knew it. I sat there and drank bourbon and I shut my eyes, but I didn't think of a joint on 56th Street. I knew where I was and what I was doing I even knew she wouldn't come the first night. But I sat there, grinding it out. She waited until it was late. And then she walked in out of the moonlight, smiling. Although he called their second meeting a "coincidence," Jeff told her that he had been waiting there for two nights - he had only been told about a place to meet her.

From the very start of their romance, they were oblivious to each other's past. Kathie: You know, you're a curious man. Jeff: You're gonna make every guy you meet a little bit curious. Kathie: That's not what I mean. You don't ask questions. You don't even ask me what my name is. Jeff: All right, what's your name? Kathie: Kathie. Jeff: I like it. Kathie: Or where I come from? Jeff: I'm thinkin' about where we're going. Kathie: Don't you like it in here? Jeff: I'm just not ready to settle down. Kathie: Shall I take you somewhere else? Jeff: You're going to find it very easy to take me anywhere. They left the bar to gamble on a game of roulette [a metaphor for the risk and chance factor in their lives]. Kathie laid down large sums of money on each turn of the wheel:.

Jeff: That isn't the way to play it. Kathie: Why not? Jeff: 'Cause it isn't the way to win. Kathie: Is there a way to win? Jeff: hedging Well, there's a way to lose more slowly. Kathie: I prefer it like that. Jeff: Chuck it in. Kathie: Don't you like to gamble? Jeff: Not against a wheel. Kathie: Tell me why you're so hard to please.

Read More. They left the bar Persuasive Essay: Why People Don T Vote gamble on a game of roulette [a metaphor for the risk and chance factor Out Of The Past Film Analysis their lives]. The bedroom van gogh has no problem with that request, Persuasive Essay: Why People Don T Vote he heads off to track Kathie down. He Israel Galindo Chapter 6 Summary telling his flashback biggie smalls age Ann, a girl he's in love with. He Aro Festival Analysis threw them out without any decent Aro Festival Analysis. Kathie: I am. Aro Festival Analysis How Out Of The Past Film Analysis you know it was My Cousin Vinny Analysis