Fairly certain this was four frames from Huston's 1950 'The Asphalt Jungle', and I think the title is a reference to WWI from an art essay (though I am less sure of the latter). The film surprised me - I had always had an assumption that it was a pulpy film about motorcycle gangs. It was not that at all. It's a straight up noir, and there was some excellent cinematography at play.
I don't know that there's much of a story I'm telling here. Of course, I'm always sticking vintage phones in everywhere I go, so that seems to-be-expected. That second frame stuck out in the film as successfully compelling. It was just a weird shot that brought across real anxiety in two relatively minor characters. The third frame? I'm not sure. I think I was trying to recapture the impressionistic feel of episode 194, 'Golden More-Tough-Than-Mean'. I'm always chasing that look and can't bring it out in the moment (I'm always too rushed.) When I end up doing, instead, is frantically scribbling to shadow - see frame four, here. In this case, however, I think it kind of works. I'd like to see a running strip looking like that.
I like this one, although it doesn't make any sense to me.
Fairly certain this was four frames from Huston's 1950 'The Asphalt Jungle', and I think the title is a reference to WWI from an art essay (though I am less sure of the latter). The film surprised me - I had always had an assumption that it was a pulpy film about motorcycle gangs. It was not that at all. It's a straight up noir, and there was some excellent cinematography at play.
ReplyDeleteI don't know that there's much of a story I'm telling here. Of course, I'm always sticking vintage phones in everywhere I go, so that seems to-be-expected. That second frame stuck out in the film as successfully compelling. It was just a weird shot that brought across real anxiety in two relatively minor characters. The third frame? I'm not sure. I think I was trying to recapture the impressionistic feel of episode 194, 'Golden More-Tough-Than-Mean'. I'm always chasing that look and can't bring it out in the moment (I'm always too rushed.) When I end up doing, instead, is frantically scribbling to shadow - see frame four, here. In this case, however, I think it kind of works. I'd like to see a running strip looking like that.
I like this one, although it doesn't make any sense to me.