Brad Dexter

Marcellus 2022-06-12 14:01:54

The Asphalt Jungle est un film contrasté, non seulement dans le sens où il s'agit d'un film noir dont le clair-obscur fut une composante indispensable, mais aussi comment Huston nous montre la confrontation et les oppositions - celle des polices et des criminels, celle du jour et de la nuit (où le...

Corene 2022-06-12 22:26:52

German professors are gentle and thoughtful, but greedy and lustful; hooligans and drivers are loyal and brave, but too aggressive; lawyers are indecisive with the idea of ​​double-fraud without a penny. In the end, none of them benefited, and in the real world, they all fell.

The part of the...

Damon 2022-06-12 22:38:02

9. Film noir, B-level production, winning by style and plot, representative of Hollywood in the 50s. Houston doesn't shoot much, but has written quite a few. His representative works all show the splicing between dynamic compositions, regardless of mobile photography, which is also unique. That film also presents post-citizen Kane, but it is different. A large number of long shots are completed through depth of field scheduling and small-scale dynamics. The emphasis on light and dark contrast and deep focus greatly affects the composition and character shape. Faces and gloomy visuals make for a worrisome nightmare. 560

Evangeline 2022-06-12 11:23:50

The setting where people from all walks of life gather to do large-scale theft is easy to think of men's battles and red circles, but this one does not show the wonderful stealing skills like the two French films, and spends more time portraying the characters. The gangster who wants to go back to his hometown, the black-hearted lawyer who wants to make a comeback, and the German professor who has just been released from prison. They have different personalities but end up with the same sad ending. The world of black and black is probably only like this. Monroe is amazing, it's so beautiful